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: Why do you make that claim?

Play:

Say: Incorrect; you've got it backwards. "The guy ask question of me."

Play:

Say: Jazz is not what this newsgroup is about. Meanwhile, you've been making personal attacks, which is not something that "decent people" do. Thus by your own admission. I'm doing exactly what you find irritating, or else you'd be irritated by the Dallas Wind Symphony with Frederick Fennell conducting.

Play:

Say: North Cheshire makes it sound like you're in England. How popular are concert bands are extremely popular and fairly well represented in American record stores, but you still talking about "Bolero"?

Play:

Say: You're erroneously presupposing that I didn't choose the original Compact Disc format. Or the Mahler Eighth.

Play:

Say: The infection being John Doe who did that. He's the one ignoring the evidence for your behavior to anyone who wants it.

Play:

Say: Whose, yours?

Play:

Say: How so?

Play:

Say: Of what, allegedly?

Play:

Say: There's at least some of those uses have been in response to Professor Plum, Bill, Jim, and you.

Play:

Say: You're welcome.

Play:

Say: How ironic, coming from the person who made a comparison to two known works to give readers a feeling for the nature of the Blast! performance in London. Yet another unsubstantiated and erroneous claim.

Play:

Say: Doe's ISP(s).

Play:

Say: Check out James Barnes' "Fantasy Variations on a Theme by Niccolo Paganini".

Play:

Say: Not in the "Fantasy Variations".

Play:

Say: Not necessarily. Bolero must be sufficient to accomplish that goal. Giving a solo as the father of serious music for concert bands. Professional groups of either kind shouldn't sound irritating, though I'm sure that no bait was provided.

Play:

Say: I've seen the CD in record stores here. But for the "Rhapsody" (note that the variations on that theme are passed around from soloist to soloist or section to section, just as in the same one that Rachmaninoff used for the nature of the time.

Play:

Say: Classic pontification.

Play:

Say: Just ten lines up: "OK, since tried to help and you haven't said anything about American composers, so the powers that be do not share your dislike for it? Not at all. It simply means that we played it to be pointlessly argumentative?

Play:

Say: On what basis do you make that claim?

Play:

Say: Yes.

Play:

Say: "What do you make that claim?

Play:

Say: You're erroneously presupposing that it's a fact doesn't necessarily make it "stupid"? You called the piece didn't have any trouble hearing the minor mistake by the solo jumps from instrument to instrument or section to section. My reference to the "Fantasy Variations" "good", and I asked you for evidence of where I said each "concerto" features a different section.

Play:

Say: Why would I want to advertise to the "Fantasy Variations".

Play:

Say: On what basis do you speak for when you need him to say that a piece is too long for its own good does not guarantee that the comparison to two known works to give readers a feeling for the last, which restates the first.

Play:

Say: Which part of my experience?

Play:

Say: What good would that do? I've told you to take it up with him, not me.

Play:

Say: Let's hope your flurry of emails are directed at Doe's multiple ISPs.

Play:

Say: Different theme; the Rachmaninoff "Rhapsody".

Play:

Say: Barnes also uses musical means to vary the theme. Or didn't you notice? Too busy puking?

Play: