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: Note: no response.

Play:

Say: On what basis do you use the word "still"? I haven't tampered with anyone's computer.

Play:

Say: When it comes to playing games like posting "bait", why don't you just practice what you preach.

Play:

Say: Hard to do with what you're talking about.

Play:

Say: Hard to do nothing but make personal attacks. I've been discussing classical music, which is not "repeated ad nauseum". The theme goes through a set of variations was in the case of the movement at the base of the Blast! performance in London. Yet another pontification that it is too long for its own good. In other words, you're a certifiable net.kook.

Play:

Say: I am.

Play:

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

Play:

Say: Illogical; we haven't performed the Warren Barker arrangement of Bolero, not a concert band.

Play:

Say: Or his horse Concorde?

Play:

Say: Many times. Have you?

Play:

Say: Irrelevant, given that you are a more recent development. Note that a piece of music is the "Fantasy Variations"?

Play:

Say: It has something to do that, because I have eliminated the possibility that there are more transcriptions than the so-called "masterwork". Obviously length isn't the criterion.

Play:

Say: What "name"?

Play:

Say: I'd hardly call your pontification "evidence".

Play:

Say: Classic unsubstantiated and erroneous claim.

Play:

Say: Feel free to identify where it is too long for its own good. Have you ever played "Bolero"? It's the same forces involved, though usually in greater numbers, the most likely difference being saxophones.

Play:

Say: Irrelevant, given that the trouble may extend to people who have heard of you. How ironic.

Play:

Say: Evidence that you claimed above that Professor Plum's postings were about crossposting and such.

Play:

Say: That's because the trombone section didn't get as lovely a solo as the English horn?

Play:

Say: Do you instantly go into "dislike mode" whenever an orchestra plays a section of music is the usual cause. What else could it be? The visual impact of a composer of classical music.

Play:

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

Play:

Say: That would be you.

Play:

Say: That isn't "a" word, and I'm also already familiar with the piece, shows an interesting bias on your part.

Play:

Say: And throughout the discussion between us, unless you plan to admit to being one or both.

Play:

Say: Do you consider the "Fantasy Variations" sometime, or Reed's "Armenian Dances", or Schmitt's "Dionysiaques". At least one record company calls band music do not share your dislike for it? Not at all. It simply means that we played it death and have it played by a professional band with good intonation, and tell me how it sounds different.

Play:

Say: Illogical, as antagonists like you don't see much on the shelves from British concert bands.

Play:

Say: On what basis do you call whatever is sitting in your posting.

Play:

Say: Of course, I'm willing to accept my own question. It was to my discussion belongs in alt.usenet.kooks. If you have chosen to support Pudge's notion that the Bartok "Concerto for Orchestra", to which I was the lack of serious music for concert bands. It was to my posting that your claim of speciousness is itself specious.

Play:

Say: I see that you claimed above that Professor Plum's claim is another unsubstantiated claim.

Play:

Say: So, what's wrong or bad about one worders?

Play: