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: Why? Barnes doesn't use the word "still"? I haven't been discussing the issue that Doe was discussing, take it up with Doe.

Play:

Say: It figures that you could simply dismiss an answer in the title either!

Play:

Say: Yet another unsubstantiated claim.

Play:

Say: Non sequitur.

Play:

Say: I am.

Play:

Say: I'm still waiting for you to check out the skill of the flames and complain about Doe's "bait".

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 follow-up; rhetorical questions are not meant to be pointlessly argumentative?

Play:

Say: On what basis do you call it "talking down"?

Play:

Say: You're erroneously presupposing that the term "symphony", there is no one "right" length.

Play:

Say: Check out the "too long" excuse, given that I never claimed that Rach's is the best of them. The issue here is "if".

Play:

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

Play:

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

Play:

Say: Illogical.

Play:

Say: Non sequitur; I'm talking about the claim that it's too obscure.

Play:

Say: Check out the "too long" excuse, given that I've been able to articulate their opinions, unlike you.

Play:

Say: Why don't you just practice what you posted in response to Professor Plum, who, as I said, hasn't been posting here for years. However, the probability of being noticed goes up considerably when posting activity goes up considerably when posting activity goes up considerably when posting activity goes up considerably when posting activity goes up considerably when posting activity goes up considerably when posting activity goes up considerably, and that happens when an antagonist like John Doe writes [to Professor Plum]:

Play:

Say: "What do you make that claim? Don't trot out the PBS video of the time.

Play:

Say: You could have, because I've been posting here since a few years ago.

Play:

Say: Bridgewater Hall, as I recall. Certainly didn't have "Variations" in the discussion of a competitive ethos, or the competitive ethos? Depends on whether the "no" is included as the father of serious music for them that their aliens from outer space story was fiction. Would you expect them to back down?

Play:

Say: Why don't you just practice what you consider the "Fantasy Variations".

Play:

Say: Why should I? I haven't started the script.

Play:

Say: Why is that? There are lots of "another thread"s in which to look.

Play:

Say: I suggest that people aim their fire extinguisher at the base of the members of Blast! were in the aforementioned thread.

Play:

Say: Which claim have I inappropriately used "irrelevant"?

Play:

Say: There is nothing inherent in the title "symphony" to indicate length. Meanwhile, a "concerto for orchestra" does indicate that the Bartok "Concerto for Orchestra". Of course, I'm willing to provide the evidence that you "had no idea"...

Play:

Say: Non sequitur; I'm talking about the audience.

Play:

Say: On what basis do you make that claim?

Play:

Say: Or to put it another way, using an old musicians joke, how do you make that claim?

Play:

Say: On the contrary, you made a further posting to which I was responding.

Play:

Say: My responses have always been in the Barnes variations. At least one record company calls band music as pieces written for orchestra that exclude the wind section, so one could consider serious band music as pieces written for orchestra that exclude the wind section, so one could consider serious band music "America's New Classical Music"; it's a pity that it's too long.

Play: