Instructions

Alternate sections are marked Say and Play. The Say sections are spoken or sung to an improvised tune in a stentorian and condescending manner, as a traffic court judge lecturing a recidivist speeder. Read as though the text makes perfect sense, even though its grammar and meaning may make sudden, unexpected turns.

The Play sections use an ordinary five-line staff with oval note heads () interspersed with diamond () and cross () note heads. Play in a manner that contrasts with the lecturer's attitude. Be mocking or solicitous or calm or resigned or anything else appropriate.

• I've used bar lines set off groups of notes. Groups should be observed by accent, phrasing, pauses or some other way.
• The cross () indicates some non-standard noise, like a multiphonic or a strum behind the bridge or a dropped drumstick or a cheese-grater arpeggio or something else. Use your imagination.
• The diamond () indicates a note that is one semitone (in either direction) different from the preceding note.
• Rhythm, tempo and dynamics are entirely up to the performer. Since no clef is specified, you can pick that as well.

You can play in concert with other performers, who may play other versions of this piece, or other any other materials, composed or improvised. When playing with others, the Say sections should be performed as disruptively as possible, and the Play sections should be played sensitively, with utmost regard to enhancing the performance of the other players.

Score

Say: Incorrect.

Play:

Say: And it appears that the term "symphony", there is no music theory in this case.

Play:

Say: Evidence, please.

Play:

Say: Yet more evidence that you could simply dismiss an answer in the case of the members of Blast! were in the aforementioned thread.

Play:

Say: Incorrect; the news reader had them sorted for me chrologically already, but I didn't know Holst wasn't born there. Where was he born?

Play:

Say: Classic pontification.

Play:

Say: I suggest that you are not interested in Doe's kookiness. You seem to be, and I've told you to do so.

Play:

Say: What good would that do? I've told you that you "had no idea"...

Play:

Say: You could have, because I've been able to get me to respond. You got what you preach and play it on your part.

Play:

Say: Not as long as the Bartok a "masterwork", yet each concerto features a different section! That's your problem.

Play:

Say: On what basis do you make that claim? Don't trot out the skill of the Opera" in years, after having played it to be convinced.

Play:

Say: "Your" thread?

Play:

Say: Who is Ed Bates and how is he relevant to the latter, as the Bartok is even longer.

Play:

Say: And I'd like to learn more about your opinion. But so far, all I've been discussing anything with you.

Play:

Say: Also irrelevant.

Play:

Say: Evidence, please.

Play:

Say: Many times. Have you?

Play:

Say: I'm now beginning to doubt that I was replying was crossposted to rec.music.compose. I didn't answer my question.

Play:

Say: So, what's wrong or bad about one worders?

Play:

Say: "If it sounds different.

Play:

Say: One suggestion: quit posting "bait".

Play:

Say: I was discussing an American composer of classical music. Based on the posting to rec.music.compose, and yet hasn't spent one sentence discussing the issue that Doe was discussing, take it up with so far is that it's too long for its own good. He simply posted "bait".

Play:

Say: I've seen the PBS video. Packed London house.

Play:

Say: You must have a problem with where Doe's discussion belongs, take it up with Doe.

Play:

Say: Well, many of the piece. Both works are longer than the one who admitted to posting "bait".

Play:

Say: Such as? (Just trying to calibrate what you posted in response to my posting that your claim of speciousness is itself specious.

Play:

Say: Feel free to explain your crossposting?

Play:

Say: Why do you say that? In the definition.

Play:

Say: The key word here is one of length, and you've done by Jim Curnow.

Play:

Say: On the contrary, it's quite relevant.

Play: