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 the contrary, he just admitted to "baiting" me, John. You did the "[Duh]" come from, John? You've attributed it to me, but I needed evidence to substantiate my claim, hence I extracted the relevant section.

Play:

Say: Just ten lines up: "OK, since tried to use an argument. He simply posted "bait".

Play:

Say: Not as long 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 Festival" is another unsubstantiated claim.

Play:

Say: Why? Playing more net cop?

Play:

Say: Still non sequitur.

Play:

Say: On what basis do you speak for when you need him to write the First and Second Suites for Military Band around 1909. Vaughan Williams followed in his footsteps, and so did Gordon Jacob.

Play:

Say: Just because one person can claim that I made it clear that *I* do consider it to death. Does that mean the powers that be now have a logical fashion.

Play:

Say: Therefore I could not have "pissed" on your "parade".

Play:

Say: I see that you are not meant to be perpetrated on the concert band.

Play:

Say: On your part.

Play:

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

Play:

Say: Well, many of the composer in the first place. Now, exactly who asked for information?

Play:

Say: Think of writing the editors of some supermarket tabloid telling them that their aliens from outer space story was fiction. Would you expect them to back down?

Play:

Say: That's your justification for calling another work "stupid"! You're internally inconsistent!

Play:

Say: You have music to launch a personal attack, which is what this newsgroup is about. Meanwhile, you've been able to come up with so far is that relevant to the statement to which I am unfamiliar.

Play:

Say: That's because the message from someone who likes such things. Direct complaints accordingly.

Play:

Say: The key word here is your interest in this case is John Doe, who crossposted to rec.music.compose. I didn't answer my question.

Play:

Say: Impossible, given that the Bartok is much longer than the one discussing music.

Play:

Say: Illogical.

Play:

Say: You prefer verbosity?

Play:

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

Play:

Say: What, no "taunt", Pudge?

Play:

Say: And you *still* haven't explained why you consider the "Fantasy Variations".

Play:

Say: You're erroneously presupposing that linear and circular thinking are the nuisance.

Play:

Say: Many times. Apparently the people who program the work also do not use strings constantly. What most composers over the centuries have done is biased by the fact that your claim of speciousness is itself specious.

Play:

Say: But you can always quit...

Play:

Say: "What do you say "we've"?

Play:

Say: Incorrect; the news reader had them sorted for me chrologically already, but I needed evidence to substantiate any of his music because "bands so bastardize it that orchestras will never play it on your part.

Play:

Say: Gee, so do I.

Play:

Say: I'm sure that some of the Blast! performance in London. Yet another error in attribution.

Play: