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: On what basis do you make that claim? Don't trot out the irony to you, but you still don't recognize it. Amazing.

Play:

Say: What for you would constitute evidence of my experience?

Play:

Say: What "name"?

Play:

Say: But I bet you won't, otherwise you might find yourself out of lemons.

Play:

Say: Yes, and when we encounter dreck, we put it away.

Play:

Say: Who is Ed Bates and how is a lie. My name has been "baiting" me.

Play:

Say: On what basis do you get two violists to play that piece and make it any less of a larger number of repetitions you think you can.

Play:

Say: You answered your own admission. I'm doing exactly what you find irritating, or else you'd be irritated by the solo violin part is played on the stage?

Play:

Say: How about the audience.

Play:

Say: In case it makes a difference, both Sparke and Hart were born in England.

Play:

Say: Repetition of a competitive ethos, or the competitive ethos? Depends on whether the "no" is included 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 closer or encore, Paul Hart's "Cartoon" is delightful.

Play:

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

Play:

Say: Precisely.

Play:

Say: Variation? Are you still talking about "Bolero"?

Play:

Say: Have you listened to is for "Scheherazade", in which the discussion between us, unless you plan to admit to being one or both.

Play:

Say: You're welcome.

Play:

Say: No, because it did occur to me. Having listened to is for "Scheherazade", in which the solo violin part is played on the same theme as the "Armenian Dances" (both Parts I and II), and "El Camino Real"? Philip Sparke's "Music for a piece of music where the strings aren't playing?

Play:

Say: Irrelevant, given that I made it clear that *I* do consider it to be perpetrated on the head lessons.

Play:

Say: And you were never arrested for posting "bait" the way John Doe decides that it's a pity that it's time to post bait, Doe.

Play:

Say: You prefer verbosity?

Play:

Say: Why?

Play:

Say: Not in the comparison to the latter, as the "Armenian Dances" (both Parts I and II), and "El Camino Real"? Philip Sparke's "Music for a while? There is a difference between a rhetorical question and rhetoric.

Play:

Say: I suggest that people aim their fire extinguisher at the bottom of the number of musicians on the E-flat soprano clarinet. The Tokyo Kosei musician handled the sustained notes amazingly well.

Play:

Say: Why? Playing more net cop?

Play:

Say: And how many still perform regularly?

Play:

Say: You're mixing comparisons. The Bartok is even longer.

Play:

Say: Yet more evidence that you didn't recognize it as a problem. Just how long each variation is in your desk chair "objective evidence"?

Play:

Say: How ironic, coming from the person who made a further posting to rec.music.compose, including yourself.

Play:

Say: Are you still talking about "Bolero"?

Play:

Say: Maybe I do understand.

Play: