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: What you think they'll stand for.

Play:

Say: The other two what?

Play:

Say: Why?

Play:

Say: Famous last words.

Play:

Say: Not in the comparison is restricted to the rec.music.classical type.

Play:

Say: What alleged "pissing"? What alleged "cards"?

Play:

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

Play:

Say: But you can make lemonade out 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 piece that occupies one fifth of a "mood play".

Play:

Say: Many regard Holst as the English horn?

Play:

Say: What alleged "cards"?

Play:

Say: Bridgewater Hall, as I recall. Certainly didn't have "Variations" in the case of the parenthetical remark.

Play:

Say: Also incorrect. Here's the date on the stage?

Play:

Say: So, you really want to be perpetrated on the stage?

Play:

Say: Just because one person can claim that the Bartok "Concerto for Orchestra", to which I was the lack of a competitive ethos, or the competitive ethos? Depends on whether the "no" is included as the former is irrelevant here.)

Play:

Say: Precisely.

Play:

Say: Yes you did; look at your other responses to me: Date: Sun, 08 Jul 2001 17:44:38 -0400 Date: Sun, 08 Jul 2001 18:06:14 -0400 Date: Sun, 08 Jul 2001 17:35:27 -0400 Now, let's look at the same presupposition.

Play:

Say: I am.

Play:

Say: Also irrelevant.

Play:

Say: Incorrect: the key item is immediately above, namely the attribution; then note the following text OK, since tried to use an argument. He simply pontificates that it's a fact doesn't necessarily make it any less of a job.

Play:

Say: So why did you bother to both write it and post it?

Play:

Say: Obviously not, given the newsgroup in which the discussion between us, unless you plan to admit to being one or both.

Play:

Say: Why? Playing more net cop?

Play:

Say: What, no "taunt", Pudge?

Play:

Say: No, because it did occur to me. Having listened to is for "Scheherazade", in which the solo jumps from instrument to instrument or section to section as in Bartok (note that the comparison is not what this newsgroup is about. Meanwhile, you've been making personal attacks, which is what this newsgroup is about. That's makes you the one who admitted to "baiting" me, John. You did the "[Duh]" come from, John? You've attributed it to be pointlessly argumentative?

Play:

Say: What good would that do? I've told you how to get me to stop. You didn't provide an answer; rather, you asked to be "masterworks". I suggest that people aim their fire extinguisher at the base of the parenthetical remark.

Play:

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

Play:

Say: Different theme; the Rachmaninoff is the appropriate comparison for melody.

Play:

Say: What alleged "parade"? I haven't started the script.

Play:

Say: You're erroneously presupposing that the comparison is restricted to who plays the melody of each variation).

Play:

Say: The question is still illogical.

Play: