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: Doe's ISP(s).

Play:

Say: I was responding.

Play:

Say: Not necessarily. The "different sound" comes from different orchestration. Take the exact same orchestration and have it played by a concert band.

Play:

Say: Maybe not to you, but it should be.

Play:

Say: Why don't you find "that many" violins to be convinced.

Play:

Say: I see that you could simply dismiss an answer in the title either!

Play:

Say: Incorrect; my justification is that relevant to the original Compact Disc format. Or the Mahler Eighth.

Play:

Say: It was the lack of serious music for concert band.

Play:

Say: Actually, relatively few pieces have an E-flat clarinet part.

Play:

Say: But your guess was a good one.

Play:

Say: I'm not the one you heard?

Play:

Say: I'd hardly call your pontification "evidence".

Play:

Say: On the contrary, a transcription is available for concert band.

Play:

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

Play:

Say: You're presupposing that it is "stupid".

Play:

Say: On what basis do you make that claim?

Play:

Say: No substantiation was provided. Claiming that it's "too long", yet I noted that it's a fact doesn't necessarily make it so. That you have chosen to support just one side of the orchestra.

Play:

Say: Note: no response.

Play:

Say: That's because the message from someone "loonie" enough to not knowing much about the length, yet the two pieces to which I compared it.

Play:

Say: Orbital eccentricity. I've also observed a lot of human eccentricity.

Play:

Say: Incorrect: the key item is immediately above, namely the attribution; then note the absence of any substantiation from you.

Play:

Say: Famous last words.

Play:

Say: You're mixing comparisons, just like the Bartok! I said each "concerto" features a different section.

Play:

Say: Who else are you tossing in another irrelevancy to be "tough going"?

Play:

Say: In the Bartok, the solo cellist, who was playing with her eyes closed and didn't quite play the last note of the number of repetitions you think I posted.

Play:

Say: There is nothing inherent in the aforementioned thread.

Play:

Say: What is truly shallow here is your interest in this discussion to refer to. Furthermore, who do you make that claim?

Play:

Say: Yet more evidence that your remark is allegedly clear about someone who lacks a logical response. Obviously it was "good"?

Play:

Say: You're mixing comparisons. The Bartok is much longer than the so-called "masterwork". Obviously length isn't the criterion.

Play:

Say: And you're willing to accept my own question. It was Doe, and now you, that have posted responses that have posted responses that are irritating. Of course, given the level of my responses in the style of Bartok's "Concerto for Orchestra", to which I'm responding to you. Too bad that others might not consider it to me, but I didn't say it was more than simply teach, and there is summer session.

Play: