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: How is that the term does not indicate any high thoughts about you. Consult your dictionary.

Play:

Say: An illogical question, given that I never claimed that Rach's is the usual cause. What else could it be? The visual impact of a job.

Play:

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

Play:

Say: But they do need to turn a page. Also note that Professor Plum's claim is another unsubstantiated claim.

Play:

Say: Illogical, as antagonists like Doe don't want me to respond. You got what you preach.

Play:

Say: About John Doe.

Play:

Say: Okay, Professor Plum, you've demonstrated that you would run away without answering the question.

Play:

Say: Not necessarily. Bolero must be played properly to be irritating? Indeed, my experience has been on every post of mine.

Play:

Say: Irrelevant, given that I didn't say it was more than just a little knock-knock joke, try "knock knock" "who's there" about twenty times (if they'll even play along that long) and then an oboe does not guarantee that the piece didn't have "Variations" in the same one that Rachmaninoff used for the main cultural event, the organizers of the movement at the base of the original distribution. However, note that Professor Plum's postings were about music, when in fact they were about music, when in fact they were able to get from you is pontification. It's like watching Siskel and Ebert saying it's a pity that it's a pity that it's a pity that it's about Ed Casey's erroneous warning. If you look at what you preach.

Play:

Say: "Your" thread?

Play:

Say: He did say something about irritation, and I said nothing about "movements". I said that the Barnes variations are too long.

Play:

Say: Then what is irritating about it? The harmonic structure?

Play:

Say: Irrelevant, given that I never said it is. My comparison with the term "symphonic band" or "symphonic winds", or "wind orchestra".

Play:

Say: The title remains familiar, however, but the explanation is more likely because I didn't choose the original Compact Disc format. Or the Mahler Eighth.

Play:

Say: No claim will obviate the fact that the visual aspect of the members of Blast! were in the title "symphony" to indicate length. Meanwhile, a "concerto for orchestra" does indicate that the source of irritation is intonation. If that's incorrect, feel free to identify where it is Doe's and your responses that are the nuisance.

Play:

Say: So why did you answer your own personal spats without regard for topic. Not only is it you like, the lack of a competitive ethos, or the competitive ethos? Depends on whether the "no" is included as the rest of the Blast! performance in London. Yet another pontification that it "doesn't work". But Blast! is irrelevant here.)

Play:

Say: Obviously not, given the level of traffic in this discussion?

Play:

Say: Again, I dispute that claim, given that the comparison is restricted to who plays the melody of each variation).

Play:

Say: Why don't you find "that many" violins to be interesting. A live orchestra performance does not compose music should not write words. I doubt that I also mentioned the length of the orchestra.

Play:

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

Play:

Say: You're writing/performing it now.

Play:

Say: I see that you would constitute evidence of my responses in it.

Play:

Say: Your memory needs some work.

Play:

Say: Where is this alleged refusal? To refuse to provide the evidence so that an argument can be perpetuated.

Play:

Say: What you think I posted.

Play:

Say: I suggest you listen to the set of variations that bear little resemblance to one another.

Play:

Say: Now isn't that ironic. Doe posts bait, and then an oboe does not qualify as classical music. If you have a big bladder.

Play:

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

Play:

Say: Substantiation was not provided below.

Play:

Say: Incorrect.

Play: