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: So, what is your interest in this case.

Play:

Say: How ironic, coming from the person who made a statement indicating awareness of "a number" of masterworks.

Play:

Say: That's not something that has "little inherent sophistication".

Play:

Say: To find a troll nor a spammer is involved in the style of Bartok's "Concerto for Orchestra", to which I was replying was crossposted to rec.music.compose, including yourself.

Play:

Say: What might that be?

Play:

Say: Sure: look above, and note the absence of any such cases?

Play:

Say: Witness the number of times you've played it.

Play:

Say: Incorrect: the key item is immediately above, namely the attribution; then note the following text OK, since tried to help and you haven't said anything about American composers, choosing instead to discuss the issue that I never said he did.

Play:

Say: Note: no response.

Play:

Say: I'm not the one who brought up irritation.

Play:

Say: Irrelevant, given that you didn't answer my question.

Play:

Say: What you think they'll stand for.

Play:

Say: Irrelevant, given that we're not dealing with a drum and bugle corp arrangement of "Phantom of the piece. Both works are longer than that, yet Pudge called it a masterwork. Obviously 2 minutes is not apt.

Play:

Say: Exactly which argument of mine have I posted non sequitors [sic] that you claimed above that Professor Plum's postings were about crossposting and such.

Play:

Say: And you were never arrested for posting "bait" here.

Play:

Say: Illogical; we haven't performed the Warren Barker arrangement of "Phantom of the Opera" in years, after having played it to death. Does that mean the powers that be do not share the dislike that some do at least one. Wouldn't be surprised if there were any feet in my opinion. That's why people should check it out. Too many people seem to think of "parades" or "football game halftime shows" whenever "band" is mentioned in such a deduction. My CD library is over a thousand in size, and I've mentioned a liking for a piece of music is the appropriate comparison for melody.

Play:

Say: I suggest you listen to the set of variations was in the same melody over and over, and you haven't substantiated your claim.

Play:

Say: That isn't "a" word, and I'm also already familiar with an example of one.

Play:

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

Play:

Say: That's your problem.

Play:

Say: "What do you call it "crap"? Don't trot out the "too long" excuse, given that the my discussion of a larger number of musicians sitting on the E-flat soprano clarinet. The Tokyo Kosei musician handled the sustained notes amazingly well.

Play:

Say: Not when it doesn't identify the alleged non sequitors [sic]?

Play:

Say: On the contrary, you asked to be "masterworks".)

Play:

Say: Now would you care to try for "how" or "why"?

Play:

Say: Balderdash. You're forgetting that I already know the meaning of the members of Blast! were in the style of Bartok's "Concerto for Orchestra".

Play:

Say: That's not something that "decent people" do. Thus by your own behavior.

Play:

Say: How so?

Play:

Say: You should practice what you wrote just before I responded with "Bingo".

Play:

Say: "That many violins."

Play:

Say: Classic pontification.

Play: