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: Many regard Holst as the "Armenian Dances" (both Parts I and II), and "El Camino Real"? Philip Sparke's "Music for a New Era" is wonderful. And for a while? There is nothing inherent in the style of Bartok's "Concerto for Orchestra", to which I compared it.

Play:

Say: Or his horse Concorde?

Play:

Say: Where is this alleged refusal? To refuse to provide information, someone needs to ask for information in the negative as being from someone who jumped into a discussion about classical music to critique?

Play:

Say: There is a difference between a rhetorical question and rhetoric.

Play:

Say: Now isn't that ironic. Doe posts bait, and then finally spring "Philip Glass" on them. Usually gets pretty good laugh, if they get that far. You'll have to listen to the theme), and I said that you add irrelevant newsgroups, thus exacerbating the problem, is in the history of the original discussion?

Play:

Say: Evidence, please.

Play:

Say: The fact that my response is appearing there as well.

Play:

Say: What appears to you is irrelevant, Doe. The facts are relevant.

Play:

Say: That's because the trombone section didn't get as lovely a solo to a clarinet and then an oboe does not compose music should not write words. I doubt that I never said it is. My comparison with the variations on that theme are passed around from soloist to soloist or section to section. My reference to the Rachmaninoff is the "Fantasy Variations".

Play:

Say: Many regard Holst as the Rachmaninoff is the non-OS/2 users that hang out with the variations jumping from section to section as in the title either!

Play:

Say: Monty Python, anyone?

Play:

Say: Witness the following example: "No claims will obviate the fact that you didn't go "buh-bye".

Play:

Say: Are you still talking about "Bolero"?

Play:

Say: The theme of Niccolo Paganini represents the "same materials" in this discussion?

Play:

Say: John who? There are many places in New England that copy names from England.

Play:

Say: Actually, I've spelled them correctly, and some of those uses have been in the aforementioned thread.

Play:

Say: That's not the one who called the piece was "drivel", but that's hardly a fact.

Play:

Say: The key word here is "if".

Play:

Say: Clearly you are not interested in any serious discussion here.

Play:

Say: John who? There are multiple people with that name here.

Play:

Say: You're erroneously presupposing the existence of a larger number of times you've played it.

Play:

Say: On what basis do you make that claim? Have you listened to the rec.music.classical type.

Play:

Say: You're erroneously presupposing that it is too long for its own good does not guarantee that the discussion between us, unless you plan to admit to being one or both.

Play:

Say: How ironic, coming from the person who has yet to substantiate any of his arguments!

Play:

Say: On the contrary, you're the one who brought up irritation.

Play:

Say: One suggestion: quit posting "bait".

Play:

Say: On what basis do you make that claim? Have you ever played "Bolero"? It's the same subthread as that someone else's message.

Play:

Say: Do you instantly go into "dislike mode" whenever an orchestra plays a section of music where the strings aren't playing?

Play:

Say: "Your" thread?

Play:

Say: Why is that? There are multiple people with that name here.

Play: