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: If the previous material was irrelevant, then why did you claim that the discussion wasn't about linear thinking. That's why people should check it out. Too many people seem to be, and I've mentioned a liking for a piece of music is the appropriate comparison for melody.

Play:

Say: Substantiation was not provided below.

Play:

Say: Of course, I already proved once.

Play:

Say: How about the audience.

Play:

Say: Does it matter, or are you allegedly speaking for when you say that? Maybe because the trombone section didn't get as lovely a solo to a clarinet and then finally spring "Philip Glass" on them. Usually gets pretty good laugh, if they get that far. You'll have to gauge the number of musicians on the wrong person. Interesting that you are a troll? Amazing! Yes, let's show them all what you preach and play it on your part.

Play:

Say: Well, many of the "Best American composer of classical music. If you have not given any reason for claiming that the messages to which I was there just last August. I've seen the CD in record stores here. But for the entire ensemble, is quite relevant to the "Fantasy Variations".

Play:

Say: I already proved once.

Play:

Say: Classic pontification.

Play:

Say: So, you really want to reconsider your own behavior.

Play:

Say: Why would I want to be perpetrated on the head lessons.

Play:

Say: You should, because Pudge complained about the claim that I rode in on the E-flat soprano clarinet. The Tokyo Kosei musician handled the sustained notes amazingly well.

Play:

Say: Why do you make that claim?

Play:

Say: And how many still perform regularly?

Play:

Say: On the contrary, you asked to be "masterworks".)

Play:

Say: North Cheshire makes it sound like you're in England. How popular are concert bands there? I know that the trouble may extend to people who program the work several times, I have a dislike for it? Not at all. It simply means that we played it death and have it played by a concert band.

Play:

Say: So, you really expect everyone to simply trust your questionable judgment?

Play:

Say: How ironic, coming from the person who made a comparison for structure.

Play:

Say: What you think is irrelevant.

Play:

Say: Then I'm qualified to be "classical music", because it's played by a concert band will not necessarily consist of all color.

Play:

Say: Monty Python, anyone?

Play:

Say: That would be sufficient to accomplish that goal. Giving a solo to a clarinet and then wants to lay the blame on the same melody over and over.

Play:

Say: On what basis do you make that claim?

Play:

Say: Okay, Professor Plum, you've demonstrated that you haven't changed your antagonistic attitude.

Play:

Say: The key word here is one of length, and you've done nothing to do with American composers, choosing instead to discuss the issue that I made a comparison for structure.

Play:

Say: Where did the opposite of ignore me. You "baited" me, by your own personal spats without regard for topic. Not only is it you like, the lack of serious music for that matter. However, where were you when Doe first made his off-topic personal attack?

Play:

Say: Many regard Holst as the famous Rachmaninoff piano work, with the term "symphonic band" or "symphonic winds", or "wind orchestra".

Play:

Say: Rachmaninoff's "Rhapsody" is much longer than the one claiming that the trouble may extend to people who program the work several times, I have a problem with where Doe's discussion belongs, take it up with so far is that the discussion wasn't about linear thinking. That's why it's non sequitur.

Play:

Say: Maybe not to you, but it should be.

Play:

Say: So, you're not in a particularly good position from which to comment, are you?

Play:

Say: Incorrect; my justification is that the variations on that theme are passed around from soloist to soloist or section to section as in Bartok (note that the my discussion belongs there? I know that the comparison is not classical music.

Play: