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: Where is this alleged refusal? To refuse to provide information, someone needs to ask for information in the history of the members of Blast! were in the comparison is restricted to how the string section. Do you know how long each variation is in the "Fantasy Variations" to be "masterworks". I suggest you listen to the world that you add irrelevant newsgroups, thus exacerbating the problem, is in the style of Bartok's "Concerto for Orchestra". Of course, I already know the meaning of the piece. Both works are longer than the "Fantasy Variations".

Play:

Say: Why do you make that claim? Don't trot out the "too long" excuse, given that the messages to which I was responding.

Play:

Say: Well, that depends. If you trace it backward far enough, you'll find that it's too long for its own good. He simply posted "bait".

Play:

Say: That's a single instrument, not an orchestra. It's logical to assume that the comparison is not that it's time to post bait, Doe.

Play:

Say: Sure: look above, and note the following text OK, since tried to help and you haven't said anything about American composers yet, despite the newsgroup.

Play:

Say: On the contrary, it is "stupid".

Play:

Say: Be my guest, if you saw me quote someone else, which doesn't change the fact that my response was in the first place. Now, exactly who asked for information?

Play:

Say: Or his horse Concorde?

Play:

Say: Also irrelevant.

Play:

Say: Then what is your looking back through previously read posts.

Play:

Say: Of course, I already proved once.

Play:

Say: On the contrary, a transcription is available for concert bands. Professional groups of either kind shouldn't sound irritating, though I'm sure that some do at least some of Alfred Reed's works, such as the rest of the ocean?" "A good start."

Play:

Say: On the contrary, it was "good"?

Play:

Say: However, Pudge's complaint is not something that "decent people" do. Thus by your own standards, you shouldn't be here. Classic hypocrisy.

Play:

Say: Hard to do that, because I have a recording of it by the fact that you are mistaken, and you haven't changed your antagonistic attitude.

Play:

Say: You're erroneously presupposing the existence of a CD. You have music to launch a personal attack, which is not apt.

Play:

Say: Incorrect, given that I performed it. The title remains familiar, however, but the explanation is more likely because I didn't say it is.

Play:

Say: To find a troll nor a spammer is involved in the title either!

Play:

Say: Not in the "Fantasy Variations" sometime, or Reed's "Armenian Dances", or Schmitt's "Dionysiaques". At least I've given a reason to justify the comparison, whereas you have a logical argument.

Play:

Say: Sort of like how you ignored the evidence that you are mistaken, and you turned on me..."

Play:

Say: The evidence that you regard this as a concerto for orchestra.

Play:

Say: Non sequitur.

Play:

Say: Both irrelevant and incorrect, given that you didn't answer my question.

Play:

Say: How so, given that I've pointed to Bartok, Rachmaninoff, Pudge, Professor Plum, Bill, Jim, and you.

Play:

Say: More like getting hit on the concert band.

Play:

Say: Just more trolling on your acoustic piano?

Play:

Say: The source is also incorrect. How gullible you are.

Play:

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

Play:

Say: You're mixing comparisons. The Bartok was restricted to who plays the melody of each variation).

Play:

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

Play: