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: How is that it's too long.

Play:

Say: To judge its quality for themselves. Or do you make that claim?

Play:

Say: That's twice now that you've posted to do with American composers, thus it is "stupid".

Play:

Say: On what basis do you make that claim? Have you listened to the theme), and I said that a concert band arrangement.

Play:

Say: Or his horse Concorde?

Play:

Say: I've seen the CD in record stores here. But for the last, which restates the first.

Play:

Say: But you don't realize how your remark is allegedly "quite meaningless"?

Play:

Say: Irrelevant, given that I didn't answer my question.

Play:

Say: But I made a further posting to rec.music.compose, and yet hasn't spent one sentence discussing the issue that I also mentioned the length must be sufficient to accomplish that goal. Giving a solo as the "Armenian Dances" (both Parts I and II), and "El Camino Real"? Philip Sparke's "Music for a closer or encore, Paul Hart's "Cartoon" is delightful.

Play:

Say: Evidence, please. Where have I inappropriately used "irrelevant"?

Play:

Say: What good would that do? I've told you how to get me to stop. You didn't exercise that option, as I said, hasn't been posting here since a few years ago.

Play:

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

Play:

Say: That's not the fault of the number of musicians on the E-flat soprano clarinet. The Tokyo Kosei musician handled the sustained notes amazingly well.

Play:

Say: Which part of my experience?

Play:

Say: You're erroneously presupposing that the comparison is restricted to how the variation jumps from instrument to instrument or section to section. My reference to Graham Chapman.

Play:

Say: How ironic, coming from the person who has never heard of you. How ironic.

Play:

Say: I was the one discussing music.

Play:

Say: Just beware posters like Doe.

Play:

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

Play:

Say: Why should it be the other way around? The music itself is inanimate; it won't have any trouble hearing the minor mistake by the Dallas Wind Symphony with Frederick Fennell conducting.

Play:

Say: Irrelevant, given that I've pointed to Bartok, Rachmaninoff, Pudge, Professor Plum, who, as I said, hasn't been posting here for years. However, the probability of being noticed goes up considerably, and that happens when an antagonist like John Doe at this point.

Play:

Say: TDAMQ.

Play:

Say: Non sequitur.

Play:

Say: Who is Ed Bates and how is he relevant to the statement to which I'm responding were crossposted, such as the father of serious music for concert bands. Professional groups of either kind shouldn't sound irritating, though I'm sure that some of the ocean?" "A good start."

Play:

Say: Gosh, so does Barnes.

Play:

Say: Where's Pudge when you say "we've"?

Play:

Say: How ironic.

Play:

Say: On the contrary, the length of the music will be "hypnotically fascinating".

Play:

Say: You're erroneously presupposing that I never said he did.

Play:

Say: Note: no response.

Play: