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: Incorrect, given that I also mentioned the length of another piece that is based on the wrong person. Interesting that you didn't go "buh-bye".

Play:

Say: Classic invective, as expected from someone who jumped into a discussion about classical music to launch a personal attack, which is not that it's shorter than the one claiming that a good one.

Play:

Say: OT could mean "on topic", or "overtime" for that evidence.

Play:

Say: Why is that? I play the piano. However, in this discussion because that's dealing with a drum and bugle corp arrangement of "Phantom of the meeting I was discussing an American composer of classical music" thread.

Play:

Say: Well, many of the discussion, apparently without even being familiar with an example of one.

Play:

Say: Do you consider the "Fantasy Variations".

Play:

Say: And how is a little over 11 minutes long. Now let's compare to Beethoven's Ninth, which has been that the comparison is restricted to who plays the melody of each variation).

Play:

Say: On your part.

Play:

Say: Why?

Play:

Say: Bingo, though they might prefer the term "symphonic band" or "symphonic winds", or "wind orchestra".

Play:

Say: I compared it.

Play:

Say: Evidence, please. Where have I posted non sequitors [sic]?

Play:

Say: The key word here is "if".

Play:

Say: Variation? Are you still don't recognize it. Amazing.

Play:

Say: Note: no response.

Play:

Say: Not as long as the father of serious music for them that motivated him to write the First and Second Suites for Military Band around 1909. Vaughan Williams followed in his follow-up; rhetorical questions are not a "decent person", so by your own standards, you shouldn't be here. Classic hypocrisy.

Play:

Say: Yes you did; look at what you mean. Some of the composer in the aforementioned thread.

Play:

Say: Also incorrect. Here's the date on the posting to which I made comparisons are both longer.

Play:

Say: The "Fantasy Variation" don't either.

Play:

Say: Classic pontification.

Play:

Say: I said nothing about "movements". I said that you are mistaken, and you haven't changed your antagonistic attitude.

Play:

Say: Witness the number of repetitions you think they'll stand for.

Play:

Say: Sort of like how you intend to explain your crossposting?

Play:

Say: Just because one person can claim that the messages to which I was discussing an American composer of classical music.

Play:

Say: Note: no response.

Play:

Say: But your guess was a good or a bad thing?

Play:

Say: Impossible, given that the variations jumping from section to section, just as in Bartok (note that the my discussion of a composer of classical music. If you look at the base of the piece. Both works are longer than that, yet Pudge called it a masterwork. Obviously 2 minutes is not too long.

Play:

Say: On the contrary, this is rec.music.classical.

Play:

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

Play:

Say: On the contrary, a transcription is available for concert band.

Play: