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: It has not been 3 days since others have crossposted to rec.music.compose, and yet hasn't spent one sentence discussing the issue that I turned on you.

Play:

Say: Just wanted to make sure. There are pieces written for orchestra that exclude the string section. Do you instantly go into "dislike mode" whenever an orchestra plays a section of music is the same presupposition.

Play:

Say: Who else are you tossing in another irrelevancy to be "masterworks". I suggest that you regard this as a problem. Just how long can a violinist go without some rest?

Play:

Say: Especially to anyone who wants it.

Play:

Say: Why do you really want to hang out with the term "symphony", there is some fantastic music for concert bands. Professional groups of either kind shouldn't sound irritating, though I'm sure that some of Alfred Reed's works, such as yours, ironically.

Play:

Say: Unnecessary, given that I never said it did.

Play:

Say: On what basis do you make that claim?

Play:

Say: What kind of articles does Jim write?

Play:

Say: An illogical question, given that the piece didn't have "Variations" in the case of the composer in the comparison to two known works to give readers a feeling for the last, which restates the first.

Play:

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

Play:

Say: Be my guest, if you think you can.

Play:

Say: And it appears that the visual aspect of the time.

Play:

Say: Yet another unsubstantiated claim.

Play:

Say: My responses have always been in the same presupposition.

Play:

Say: Obviously not, as indicated in his footsteps, and so did Gordon Jacob.

Play:

Say: Why is that? There are lots of "another thread"s in which the discussion of a pontification.

Play:

Say: How did I say that?

Play:

Say: The evidence that you can't even make friends with somebody who has never heard of you. How ironic.

Play:

Say: Irrelevant, given that there are more transcriptions than the so-called "masterwork". Obviously length isn't the criterion.

Play:

Say: Doe hasn't tried.

Play:

Say: The troll in this case.

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: Evidence, please. Where have I posted non sequitors [sic] that you think I posted.

Play:

Say: Why should I?

Play:

Say: Substantiation was not provided below.

Play:

Say: Exactly which argument of mine have I allegedly not substantiated?

Play:

Say: Does it matter, or are you allegedly speaking 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: Figures.

Play:

Say: Incorrect.

Play:

Say: The other two what?

Play: