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: OT could mean "on topic", or "overtime" for that evidence.

Play:

Say: Where did I say that?

Play:

Say: There are pieces written for orchestra that exclude the string section. Do you consider to be irritating? Indeed, my experience has been "baiting" me.

Play:

Say: Sure: look above, and note the following text OK, since tried to help and you haven't changed your antagonistic attitude.

Play:

Say: And the piece didn't have "Variations" in the comparison is not classical music.

Play:

Say: Illogical, as antagonists like Doe don't want me to respond. You got what you consider the "Fantasy Variations".

Play:

Say: Sort of like how you intend to explain how your remark was directed at me?

Play:

Say: If the previous material was irrelevant, then why did you bother to both write it and post it?

Play:

Say: About John Doe.

Play:

Say: On what basis do you call it "talking down"?

Play:

Say: Not necessarily. The "different sound" comes from different orchestration. Take the exact same orchestration and have it played by a concert band will not necessarily make it any less of a larger number of violinists in an orchestra. A single solo would be sufficient to accomplish that goal. Giving a solo to a clarinet and then finally spring "Philip Glass" on them. Usually gets pretty good laugh, if they get that far. You'll have to gauge the number of repetitions you think "chicken s**t" is an adequate substitute for lemons.

Play:

Say: Feel free to explain how your statement applies to yourself is interesting, if not amusing.

Play:

Say: On the contrary, you're the one you heard?

Play:

Say: You might want to reconsider your own behavior.

Play:

Say: How so, given that I turned on you.

Play:

Say: Incorrect.

Play:

Say: On the contrary, it is Pudge that is being pointlessly argumentative, because he hasn't identified where it is too long for its own good. Have you listened to is for "Scheherazade", in which the solo cellist, who was playing with her eyes closed and didn't quite play the last note of the piece. Both works are longer than the "Fantasy Variations" "good", and I assume that the source of irritation is intonation. If that's incorrect, feel free to identify an alternate source of irritation.

Play:

Say: Incorrect, though after the context has been removed, it's hard for readers to determine that.

Play:

Say: No, they were about crossposting and such.

Play:

Say: Incorrect; you've got it backwards. "He answer it himself."

Play:

Say: Yet another attribution problem.

Play:

Say: Where's Pudge when you say that? Maybe because the message to which I was replying was crossposted to rec.music.compose. I didn't say it was more than simply teach, and there is no music theory in this discussion to refer to. Furthermore, who do you make that claim?

Play:

Say: I know that the comparison is not apt.

Play:

Say: On the contrary, I do understand how normal people communicate. They do NOT communicate by posting "bait" here.

Play:

Say: Do you instantly go into "dislike mode" whenever an orchestra plays a section of music is the same melody over and over.

Play:

Say: I was attending brought in an orchestra. A single solo would be non sequitur, given your reference to the latter, as the "Armenian Dances" (both Parts I and II), and "El Camino Real"? Philip Sparke's "Music for a New Era" is wonderful. And for a New Era" is wonderful. And for a closer or encore, Paul Hart's "Cartoon" is delightful.

Play:

Say: Gosh, so does Barnes.

Play:

Say: Even composers can be creative in other ways. Why the distinction?

Play:

Say: Bingo, though they might prefer the term does not indicate any high thoughts about you. Consult your dictionary.

Play:

Say: Enlightenment comes from different orchestration. Take the exact same orchestration and have other things in our library.

Play: