Trio Flauto Cello Basso

Top Ten Video Game Music Slap Down!
Craig Bakalian
Flute, Cello, Double Bass, and Voice
Creative Commons Attribution-NonCommercial 3.0

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Table of Contents
Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Performance Recommendations . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Performance Forward . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
10) Crow Versus Squirrel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
9) Peanut Butter Pony Goes Undercover . . . . . . . . . . . . . . . . . . . . . . 20
8) Bleeeeeep! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
7) Enter the Mystic Labyrinth of the Mental Abyss . . . . . . . . . . . . . 33
6) Kung Fu Kats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
5) King Monitor Lizard, our Royal Highness . . . . . . . . . . . . . . . . . . . 51
4) NYPD Bull Dogging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
3) Ms. Rhinoceros Teaches the ABCs . . . . . . . . . . . . . . . . . . . . . . . . 69
2) Four Axes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
1) Computer Duck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
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Foreword
Top Ten Video Game Music Slap Down is a satirical mocking or imitation of
music that accompanies computer video games. There are ten pieces of music
in this series with each one prepended by a short poem. Music alone cannot
project satire or sarcasm. The poem provides context for the satire of the music
which is an imitation of the banality of video game music. Often, the poems in
and of themselves, become a satire of video game narratives. This series, being
a top ten count down, is numbered ten to one, with number one being the top
of the list and the best. The titles, poems, music and subject matter are purely
fictional, meaning none of these video games exist. Any reference to an existing
video game is by coincidence.
I have always enjoyed and appreciated artful language. I am not a poet.

While composing this music, I took the liberty of pretending to be a poet. I did
my best to conjure the status quo video game narratives with a constant
mocking, exaggerating, and teasing of the stories in video game software that
is marketed to youth. The reality of computer code driving an automaton video
screen as the back-end to mainly myth based stories serving as a front-end was
a constant source of humor and amusement during my writing of the enclosed
poems. Mankind's endless effort to make each other believe that something is
there that is not there was the basis for all of these poems. It is the extension
of this illusion into our modern computer systems I find spectacular. This
illusion renders our so-called modern high technology world as nothing
different from our primitive attempts to communicate. The echo chamber, the
primitive shaman shouting into the forest to hear it echo back; the echo being
the voice of the forest, is no different from the vast echo of information on
networked computers of the internet. There is no wonder as to why video game
authors chose mythic narratives for front-ends of their sterile computer code; to
be echo, to be looked at, and to be capital.
Some of the poems became free associations into an exaggerated state of

black comedy. The Four Axes is an example where my train of thought flowed
to the persona of a skin head call of duty culture where the world of facism is
hailed and often worshipped. In no way do I promote such ideals. Violence is
not a valid form of self-expression on any level. I find it a psychological wonder
as to how easily anyone's mind can wonder into the fantasy of violence, even
peaceful liberated minds.
4
Once the context of the game was conjured in a poem, it was simple for me
to create the music for that context. I did considerable internet research of
video game music along with other popular forms of music that accompany
visual narratives (TV) to create a status quo music syntax in my audiation. I
subsequently imitated and varied this syntax to create a more formally
developed music structure which will hopefully work in a concert hall setting.
The trick was to keep the banal repetitive approach of status quo video game
music and at the same time inject musical invention. Too much invention
destroyed the banality, and subsequently the humor or satire was lost.
The instrumentation of flute, cello, double bass, and voice is not arbitrary.
This formation came about because of a call-for-scores contest from a chamber
group called Project Trio in New York City. During the composition of this work
I imagined myself reading the poetry and singing the vocal part of the last
piece. Writing this work was pure pleasure for me. It was written during the
snows of January, February, and March where each week was devoted to the
composition of a single movement and the writing of its partner poem. It was
fun to play the role of a snooty academic composer who looks down upon trivial
forms of musical expression... I am joking of course! Slapping out one of these
pieces a week was extremely fun! Composing music, gardening and family are
the only things that keeps me sane.
Craig Bakalian
March 23, 2015
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Performance Recommendations
The most difficult task for the performers of this music series is to create
the banal electronic midi small paper cone speaker sound from acoustic
instruments. I strongly recommend that the performers of this music
familiarize themselves with the world of video games music and the culture
surronding it. This is easily done via internet search engines. The echo
chamber of the internet has freely distributed vast ammounts of video game
music along with blogs of people proclaiming its glory.
The trick is to give a concert audiance an artful music experience and at

the same time project the humor of the uninventive music found in video
games. Think of it as fully trained world class chef serving macaroni and
cheese with hot dogs; it has to be both comfort food and a full culinary flavorful
experience. The next trick is pure executive skill; replicating the rapid driving
tempi that a computer chip can wail. I urge the performers to use fast tempi
when called for, however, fully breathe because you are not a machine. Don't
attempt to win a sprint against a motorcyle in your best running shoes. Don't
do the John Henry thing! Just have fun with these pieces. You must project a
fun filled persona. Below is a listing of individual performance
recommendations. And please ensure that you read the poem before the
performance of each piece.
Crow Vs. Squirrel

This piece is a basic rock tune structure. The main theme is in the cello
with the flute projecting a drum set sound. I write harmonics on the flute
differently than most composers; the solid note at the base of the harmonic is
the fingering note, the diamond shape note or notes above are the harmonic
note to be projected or sounded. The flutist should or may make the harmonics
as multi-harmonic as possible. The double bass drives this piece with the
opening syncopation. The trio should follow the double bass in this piece.
Peanut Butter Pony Goes Undercover

This piece is straight forward. The opening should have the sound of a
western saloon piano; light and galloping. It wanders off into a more intense
feeling, then really kicks into a lilting western Gene Autry style.
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Bleeeeeep!
This piece requires the flutist to play only the flute headjoint and altering
pitch using his or her pinky or finger to slide inside the open end of the
headjoint, like a slide whistle. Measure 32-33 is an example of a full seventh
trill which is produced by using the palm of your hand to open and close the
end of the flute headjoint. There are plenty of glissandos required to imitate
that bleeping sound of the most primitive of video games; that traveling thing
that munches other things to get points. The flutist should not attempt
intonation precision on this piece. Go with the flow and do your best. A finger
slide in a headjoint is not going to be precise. I do have concerns as a composer
about some of the double stops in this work. Please play the bottom note if the
double stop is not possible. The second time of the Da Capo, do not perform
repeat bars.
Enter the Mystic Labyrinth of the Mental Abyss

This piece is not straight forward. The opening should be played as an
improvised expression. It should be worked out as starting slow and calm with
a gradual building to a fast and frantic texture resolving into the 6/4 measure.
Regardless of the lack of meter of the opening texture, careful cueing should be
rehearsed to build a dramatic feeling of anticipation. Given the swishy
harmonic sul ponticello of the cello and bass, the flute should lead the
acceleration. The cello and bass should accelerate the frequence of the peaks
and valleys of the glissandi. The flute part at measure 10 is what I call a
harmonic trill. The flutist should trill the fingerings as written and use his or
her embouchure to create the tones. It is an effect, but make it fit into the
narrative and flow of the music.
Kung Fu Kats
This piece is a pentatonic expression, the beautiful five tones. The flutist
should familiarize him or herself with Dizi performance. The cellist should
familiarize him or herself with Erhu performance. The Very Fast, Lively section
needs to flow like water. Do not underestimate the difficulty of this music
because of the pentatonic tonality. Breathing is difficult for the flutist in this
piece. The bass needs to articulate pizzicato glissandi.
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King Monitor Lizard, Our Royal Highness

This music is an imitation of Pygmy music. It is not satirical. The cello and
bass should tap the body of their instruments with their hands to produce
percussion. The cello and bass share the same rhythmic patterns throughout
the piece to produce the effect of a communal and tribal percussion circle. The
cellist and bassist may choose to use a different instrument to produce the
percussive timbre. The performers are free to choose, but undestand that you
should create a primitive tribal drum sound. There is a flute cadenza that
creates a hysterical expression with exaggerated hyper-breathing while playing
harmonics. Please be cautious while producing this effect. Don't pass out, but
come close --- you are the island shaman of the universe, self destruction and
hedonism is the way to eternity. Also, you need to take the headjoint off the
flute body and play the flute body as if it were a trumpet. This reaks havoc on
intonation, so forget about tonality. Finger, buzz your lips like a crazy person.
NYPD Bull Dogging

You need to listen to cop show music to understand this style. This music
has that overly generic commericalized jazz sound. The syncopations must be
projected in the meter notated; 3+3+2. I used dashed barlines to assist the
performer in feeling the metric syntax. The 2 of the 3+3+2 should lead into the
3+3. I hope that makes sense. Do your best to give it that big band sound.
Ms. Rhinoceros Teaches the ABCs

I love this piece, don't mess up its simplicity! It is Twinkle, Twinkle Little
Star backwards. I worked for many years as a public school music teacher. I
worked next to many a Ms. Rhinoceros. And, oddly, I think there is some
sub-personality deeply embedded into the recesses of my personality where my
alter-ego contains Ms. Rhino.
The Four Axes

This music started out as mocking the music of call of duty type first person
shooter video games. It became an adventure into the world of skin head
music. This is the most banal of all the pieces on the list, and you should
perform this work as banal as you can make it. Make it a mosh pit as best you
can. The middle section ventures into the world of German beer hall music
combined with that uber-alles Nazi march. It should come off as a military
8
march which oddly flows into the Halls of Montezuma US Marine's battle
march (an out of tune version).
Computer Duck
The humor is dark in this music. I, as a composer, am mocking that sugary
sweet sound of children's music cranked out by our dominant contemporary
music industry, all the while I had fun playing with this style. The instruments
should perform as basic accompaniment; primarily being in the background of
the vocalist. The texture at measure 39 is wild and should sound awkward and
crazy. The vocalist needs to create a hissy cratchity sound out of the side of his
or her mouth; it is a hissy duck sound at measure 54. I am insecure about
some of the triple stops in the cello. Please remove any tones that are
unplayable. If possible, roll the triple stops. The music in tonality and phrasing
is very simple. Even though it has a popular sugary quality to it, it still has its
expressive merits. This quality of expression is explained in the forward; I hope
to serve comfort food with a flavorful culinary art. The lyrics explains the piece,
the selection of the best video game music leads to a religious identity crisis
along with the making of a god in a inter-connected network experience of lost
physical presence. Our physical presence is lost in the remote signals of
telphone wires.
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Top Ten Video Game Music Slap Down!
it is important to know who is the best
"ya' know god is dog spelled backwards" Harold Flubart, Jenkintown Elementary School, 1969
Behold, the beatific ascent to blue ribbon acclaim

all direct your eyes, ears, and nose
to a gradual counting down of ten to Adam
Tones, rhythms, meters, keys, melodies and harmonies
that comfort the high pressure of man versus machine advisarial
the muse which encourages the mind to a motivation past dominance
A trip through the brain pleasures unwind the ear flavors

Sloshed, swished, and slurped, over and around all parts of tongue
a palette of sonic deliciousness, dry, expressive, fat, hard or heavy
And we, meaning I, or we, not them, those others, must adjudicate,
filter each pagent entry: popular and un, white and gray, curves sensual and ascetic,
the right, pure moralistic, evaluation that anoints out from the commonplace
And I, meaning we, shall rise to occasion.
Resting of gluts for you, for we, I, no it is we the sovereign

of pantheon of the sky and beyond shall inform the globe
of everthing you and they need to know in, for, about, involving and
revolving to the finest with nothing ordinary, the momement,
the flirting must end, the boundry must break, for my, our, it
horrid insecurities of who I, we, I actually am, are have and will becometh
to the ceiling of game music video
starting with number ten, Crow V. Squirrel

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Crow Versus Squirrel
Suburbia: a battle for street trash
Into the bowels of black roads winding

muddled middle class humaniod food tossed,
lost, disgarded, rerouted, festooned with
maggots and grubs, egg shells with coffee mud
packed down, flattened by war wheels of rubber
Behold, the talents of the sun god Ra

Black and Gray, feather and fur, air and land
deals were made in prehistory;
Ra gave Blacky a chisel beak
Ra gave Furry twenty daggars, four times five
Ancient gladiators of Ra meet on the street

territorial rights with an all out assault.
Energy, force, powers, primative dark ritual
the quest for calories as claims of progeny
There is no way or how to undo damages.
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Crow Versus Squirrel
Suburbia: a battle for street trash
Craig Bakalian
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a galloping expose into cloak and daggar
Clippity Clippity Cloppity Clop

Browny is smooth, swank, and dressed to kill.
Clip Clop Clip Clop, Ney flurh Ney Hey!
Shank, muscular definitions with ribs galore.
Plip Plop Plip Plop, flout with tail flourish
Chips go dropping flavor the air.
Under the covers this oversexed knight

a roll in the hay, seduction is effortless
Damoiselle trouble, Damoiselle restored
mounting the fences, gravity ceases
Kama Sutra positions; ample to no end
These mares are all his, double agencies too.
Hippity Hippity Hoppity Hop

High tech thingumabob appear bona fide
Frip Frop Frip Frop, Snort snore snort Hey!
Hidden killer, secret death machine, snuffs them
Zip Zop Zip Zop, he is still the nice guy, loved.
Even though he needs potty training, litter or something?
21
a galloping expose into cloak and daggar
Craig Bakalian
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q qq q q qq q q qq q q qq q qq q qq q
q q q
qq q

q
qqq

146
f p

q q q q q
q
q

q

mf p

q q q q q
q
q q

mf p
28
Bleeeeeep!
simple does not mean easy!
Bright noisy shapes increase the nitrous oxide in my head

Falling with decrease in slack, building tensions of a
small chicklets that I have become a habitual abuser of
unmindfullness, thumbness quicker than some insect trap
One more time, hold on, again, another, another freaking
try, attempt at loss; neurality versus electricity in its
most precise slicings, trons of molecules powered arranged
like 3d tutti-fruity candy, no scentecules to trigger the
something in my nose that actually sends messages to my
brain that recognizes one smell from another. That is
missing. I need to smell the bleeping shapes, what is wrong
with licking the damn thing. All I want is sex, damn good sex.
29
Bleeeeeep!
simple does not mean easy!
Craig Bakalian
Fast ( q = 240)

Flute 8
16

8 q q q q q q q
q q q q q q q q q
q q q q q q
Cello
16 q
p sfz p sfz f
q q q q
8 q q q q q q q q q q
q q q q q q q q q
Bass
16
p sfz p sfz f
q
q q q q
Play with headjoint only.
q
q
6

f
q q
q q
q q q q q q
q
p
q q q
q q q q q q q q q
q q q q q
q
q
p mf
q
q q
q
q q
q q
q
q
q q q
q
12

fp

fp
q q q q q q
q
q
q
q q
q
q
q
fp
q
q
q
q
q q q
30

18

ff f
qq
qq
qq qq

ff

q
q
q q
ff
q q

24
q q q q q q

fp ff fp
q
q
q q q q q q
q
q q q q
q
q

fp ff fp

q
q
q q q q q q
q
q q q q
q
q
fp ff fp
q q
q q q q q q q

È
q

30

ff p
pp q
q q
q q q q q
q q
f
ff
q qqq q qqq

q q qq q q qq
q q q q q
ff mf

31
36
q q
q q q q
q q q q q q q
qqq qqq
qq q q q qq q q q q q q q q q q q q q
q q

41

q q q
q qq
qq qq
q q q q
q q q
q q q
f
q q q q q q q q q q q qq
qq qq q q q q
qq
q
q
q qq
q
f

48
q
q q
q q
q

mf
q q q q q q q q q q
q
qq q q q qq
q
q

32

54
q q q q
q q
q q q q
Da Capo al Coda

3 3
pp

pp

p
È
q
q q
59
q
q
q
ff
q q q q q q q q q q q q q q q q q
q
q q
q
q
f q q q qq q
q q q q
q q q q q q q q q q q q q q q q q q q q q q
q q q q
q

f

64 q
q
p
q
q
p
q q qq
q q q
q q q q q

p
33
the world identity crisis cannot be solved
Deep in the infinite expanse of neurons resides something I call I.

This declaration of neuronic super-biology, identificology, others do.
The deep expanse contains death on its boundries but is reborn.
Trillions of sacks of folded brains crawling on the global surface-
One sack telling the other sack to be exactly like their sack or else-
Until all of the sacks are exactly like one big sack; all call all.
Try as you will, endeavour to change the other or others.

The motivational will to walk into the forest alone different.
Away from the rows of corn, the fenced animals, processed food
Eventual, benevolent overlords crazed gooey, icky sticky vip ippy-
The vast expanse, endless, undiscovered patterns of ganglia-
Infinity times infinity added to the micro macro; it is not not is it.
34
the world identity crisis cannot be solved
Craig Bakalian
Very Slow, Unmeasured ( = 60) q

accelerando

Flute
pp cresc.
accelerando
q
q q q q q q q q

q
sul C pont
q q

Cello

pp cresc.
q q q q q q q q
accelerando
q q

q q q q q q
sul E pont
Bass
q

q
pp cresc.

accelerando

q q q q q q q
accelerando
q

q
sul D pont
q q q q q q
sul G pont
q q q q

q q
q q q
q q q q q
accelerando
q q q q q q q
q q q q q q
sul A pont

sul D pont
q q q
q
q q

accelerando

6
4
accelerando
q q
sul A
q q q q q 6
q
4
accelerando
q q q q q q q q 6
sul G pont

q
q q q 4
35
q q
q
Fast ( = 180)
q
q q q q q q q
46 q q
flutter

q
fff
qq qq sp fff

6 q
ord
qq qq q q q

4 q q
fff

6 ord q q q q q

4 q q q q
fff
4 Very Slow, Unmeasured ( = 60) q

accelerando

pp cresc.
q q q q q q q q q
q q q
accelerando
q q q q

sul G pont
q q q q
q q q q

pp cresc.
q q q q q q q q
accelerando
q q

q q q q q
q q
sul E pont
q
pp cresc.

accelerando
4

q q q q q q q
accelerando
q

q
sul D pont
q q q q q q
sul G pont
q q q q

q q
q q q
q q q q q q
accelerando
q q q q q q q q
sul A pont
q q q
q
sul D pont
q q q
q
q q

36

accelerando

4

accelerando
q q
sul A
q q q q q
q

accelerando
q q q q q
sul G pont
q q
q q

q q q
qFast
q
q q q
( = 180)
4 q q q q flutter
q q q q
4

q 4
fff
qq qq sp fff
qq qq qq
q
4
q q q 4
fff
q q q
4
q q q q q q 4
fff
q

Slow ( = 55)

7
44 q q q

mp 3 3 3
4
q
sul pont

ord
q q
q
4 ppp q q q
p
sul pont
q

4 ord

4 ppp q q
mp
37
q

q

q q q q
10
q
q q q q q q
p f p mf
q q
sul pont
qq
q q q
q ppp
f p
q
sul pont
q q q
q
q q
p f ppp

12

3

3
q q
q
ord
q
q q q
q
p

ord
q
mp q

q q
q
14
q
q q q
q q q q
q q
q q q q
p f p
q q
q q
q q q q q
f p q

q q q q q
p

38

q q

15
q q p f p
q q
q q q
q
p q q q
q
q q q
mf p

q
q q

16
q q q q q q q q q
q q q q q
p f p
q q q
q q
q q q
mf p
q
q
q q q
q q
mf p mf

q q q q q q
q
17
q q
q q q q q q q q qq q q q q q q q q q qq
p f p p 6
f 6
p
qq
qq q q q q
q q q q q
q q qqq
mf p mp pp
q q q
q q q q q
q q q q q
p pp
p mp

39
Very Slow

3
19

q q 4
p pp

q q q

q q q q q q
3
q 4
pp
f
sul pont
q 3
ppp 4
Faster
q q q q q q
43 q q q
23
q q q q q q q
p
pizz gliss
q q q
3 q q q qq
4 q q
q q
f
3
pizz gliss
q

4
q
f
q q qq q q q q q q qq q q q

28
q q q qq

f
q q q
ord
q qqq q
qq qq q q q q
q q q
q q q
qq f
q
ord
q q q

q qq qq

f
q q
40
q q q q q q q q q

33

mp f mf
q q
q q q q
q q q q q qq q q q q q q q q q q q q q q q

q q q q q q
mf f mf
qq qq q q
q

q
mf
q

39 Slower, Calm
q q
p
qq qq

pizz gliss

q
q
f
q

pizz gliss

q

Very Slow, Unmeasured ( = 60)

46
q q q q

ppp pp cresc.
q q q q q q q q q
q
q q q
q q q q q q q q q q
sul C pont

q
pp cresc.
sul E pont q q q q q q q q q q q q
q q q q q


q q
pp cresc.
41
q q q q
q

Fast ( = 180)

47 q q q q q q

q q
sul G pont q q q q q fff
q q

q q q q q q q q qq
q q q qq
sul G pont
q q q q q q
qq qq

qq

q q q q
fff
q q q q q q q
q q q
q q
q q q q q q q

q

q

fff

49 Very Fast ( = 160)

p p cresc.
q q q q q q q q q q q q q q q q q q q q q q q q
p cresc.

p cresc.

55
q q
q q q
q q q
q q q q q q q q q q q q q q q q q q q q q q q q q q q
q
q q q q q q q q q q q q q q q q q q q q q q q q q q q q q
qqqqq q
q q q q q
42
q q q q q
q q q
60
q ff ff
q q
q q q q q q q q q q
q q q q q
q q q q q q q
q q q q q
q ff ff
q q q q
q q q q q q q

q

ff
ff
q
q q
qqqqqq q q q q q q q q
66

q
p fff
q q q q q q q qq
qq q q q q q q q
qqq q q q q q
p fff

q q q q q q q

q q q q q
q
p fff
q

72
qq

q
43
Kung Fu Kats
a shoalin adventure of the dao
It is said that a Kung Fu Kat can walk up walls,

shred curtains without being seen,
pee on furniture without being heard,
pet, she will purr.
Drop a peeble, dialation of diamond eyes

snatched from the hands claw marks sting
reckless homeowner cursing the existence of,
but the fluff, the walking pillow on rice paper.
Sopor, dreaming of the hunt and the wild.

This beast needs a job, a purpose, ambition,
yet the gentle path, the way of the dao,
meditation, tranquil, and peace is the way.
We have Carradine to thank for the TV

instruction of the ways of the eastern masters,
1972 the years of the south asian wars
supping pot, vets on herion tumbled out
of local bars, blood stained bathroom walls
strange rubber tube, needles, cigarette ashes
everywhere-- I was only eleven with sports cleets.
I needed a dao hero from afar, where was Cane?
44
Kung Fu Kats
a shoalin adventure of the dao
Craig Bakalian
Very Slow (q = 60) q qq

Flute q q q q q q q q q q q q
mf f mf
qqqq q q q q
Cello

p mf p
q q

Bass

p mf p
6 q q
q qq qqqq
q
q q q q q q
q
q q q
f mf f mf

q q
q q
q qqqq qq qq qqq
q qqqq qqqq
mf p f p
q q q qqq

q
p
mf p f
q q q q q q q q q
q q q
11
q q q q
f mf f
q q q q
mf p mf p

mf p mf p
q q
q q q q q q
45

q q qq q q qq q q q
q q q qq q q
qqq
15

mf f p 10
f
q q q qq q qq

f p f
q qq q
q

f p f
q q q q qqqqq q qqq q q
qq

19
qqq qqq q

10
f
q
q q q q
q q
qqq
p cresc. f

p f

q q q q q q q q q q
Very Fast, Lively ( = 60)
23
q ! q
q

p f f

qq
q q q q q q q q q q q ! q
q q
p f
q
qq qqqq !
q q
q
q q
p f
q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q qqq q
q qq q q q qq qq q
q
46
27

p
q
q q q q
q q q q
q q q q q q q
q q q q
q q q

f q q
q q q q
q q q q q
q
q q q q
q q q q
q q q

f
q qqq q qqq q q q q q q q q q q
q q qqq qq q q q qqq q q q q q q q q q q q q

30

q
q q q q q f
q q q q q
q q q
q q q
p q q f
q
q q q
q

q
q
q q q q q q q q

p f
q q q q q q q q q q q q qq

q qqq qq q q qqq qq q q q

33

p f fp
q q q q

q

q

q

qq
q q q q q

p q q q q f fp
q q q q q q q q qq

p f fp
47
q q q q q

q q q q q q

37
q q
q q

fp f p
q q q q q q q q q q

fp f f
q q q q q " " " "" " " " " "" "" "" "

col legno battuto
fp f p
q q q q q q
q q q q q q q q
q q

42

f p f
q
q q q

p f f
" " " " " " " " " " " " " " " " " ord
q
q
q q q q
f
q
q q q

46
q
q q q q
q q q q q q

f
q qqq q qq q qqq q qq q qqq q qq q qqq q q q qqq
q q q q q q qq qqqqqq qq q
p
pizzicato glissando
q q

f
q
q q q q q
48
q
q q q q
q q q q q q
49
q q

p
q qqq qq q qqq q q qq q q q q q q qqqq qqq qqqq qqq
qq qq qqq qq qqq q q
p
q q
q q q q q

ord.
p

q q q q q q
q
52

f p f fp
q q q q q q q q q q q qqq q q q q q q
qq qq q q qqq qq q q q q q

f p q q f fp
q q q q q q q
q q q q q q q q q q

f p f fp
q q q qq q q q qq

56

fp f
q q q qq q q q q q cadenza

qqqq qq
qqq q q
qq qqq
fp f
q q q q q q q q qq

fp f

49

61

qqq
qqqqq qqq
qqqqq q qqq q qqq

q q
p

65

q
Slow, Calm ( = 60)

q
q q q qq q q q q q q

qq q qqq qq q qqq q q
q q q q q q spp cresc.
f p f
12 13

q q q q

68

mp cresc.
q q q q q q q q q q
q q q q q q q q q q
tutti
q q q q q q q q
q q q q q q
q
q q q q
q q
mp cresc.
50
q q q q
q
72
q q q q q q

ff
q q q q q q q q q
q q q
ff
q q
q q
q
q q q q
q q q q q

q
ff
q q q q q q q q q q
q q q q q

76
q

p f p f
q q q q q
q q
p f p f
q
q

q q q q
q q q q q

p f p f

80

p

p

p
51
King Monitor Lizard, our Royal Highness
headhunters capitalistic paradise
Anachronistic lost island, neolithic rituals

the forest roars, speaks, and whispers
this king rules with bacteria mouth bites
slow staulking death eventually becomes a meal.
Nothing is sacred, shamans rule with gross stories

coconuts buried with blood, rolled in the ash of
fish bones, beasts with severed limbs, moon
slowing descends fucking the ocean horizon
Women are from the King copulating with a man

whose testicles been eaten by the king himself
and his forked tongue is so satanic, this lizard
will make anyone his bitch, bury them alive
All, tales aside, headhunting is a capitalist

marketplace dream, driving opportunist in loop holes
surviving the money shamanistic dealings, yell sell
buying for futures rise upon the statistical
incalcuable forecast of the prediction of the
account storm of shock and hide inside the
off shore accounts of those that have become food
for the reptiles of profit
52
King Monitor Lizard, our Royal Highness
headhunters capitalistic paradise
Craig Bakalian
q
Intense,
q = 130)
Rapid, and Driving (
Flute
f
Cello # q q q q q q q q q q q q q q q q q q
f
# q q q q q q q q q q q q q q q q q q
Bass

f
q q q q q q q q q
q q
q q q q q q

mf
#

mf
6
q q
q q q q
1.
q q q q q
p cresc. q q
# q q q q q q qqq q q q q q q qqq q q q q q q
p cresc.
# q q q q q q qqq q q q q q q qqq q q q q q q

p cresc.

53

q q q q q q q q
9
q q q q q q q q q q
# qqq q q qqq q q qqq qqq q q q qqq q q qqq q q
# qqq q q qqq q q qqq qqq q q q qqq q q qqq q q

q q q
q q
q q q q q
q q
q q

12

f
# q q q q q q q q q q q q q q q q q q q q q q q

f
# q q q q q q q q q q q q q q q q q q q q q q q

f
2.q q q q q q q
q q q q q q q q q q
15

p cresc.
# qqq q q q q q q qqq q q q q q q qqq q q qqq q q
p cresc.
# qqq q q q q q q q q q

p cresc.
q
q
54

18

# qqq qqq q q q qqq q q qqq q q qqq qqq q q q q
# q q q q q q q q q q q q qq

q
q q q
q
q flutter
q q q q q

21
f 3 3
# q q q q q q q q q q q q q q q q q q
f 3 3
# q q q q q q q q q q q q q q

f 3 3

flutter
q q q q q
flutter

6
24
3 3
8
# q q q q q q q q q q q q q q q q 6
8
3 3 3 3 3 3
# q q q q q q q q q q q q q q q q 6
8
3 3 3 3 3 3
q
55
6 q q q q q q q q
q
q q q
Wild ( = 150)
q q q q
27
8 q q q
p f
# 6 q q q q q q q q q q q q q q q q q q q q q
8
p f
# 6 q q q q q q q q q q q q q q q q q q q q q
8
p f
q q q q q q
q q
q

31
p f
# q q q q q q q q q q q q q q q q q q q q q
q q q
p f
# q q q q q q q q q q q q q q q q q q q q q
q q q

p f
q q q q q q q
q q q q q q

36
q q q q
2

p cresc.
# q q q q q q q q q q q
q

q q q
p cresc.
# q q q q q q q q q q q
q

q q q
p cresc.

56

3

4

5

6

7

8

41
#
q q q

q q q
q q q q q q q q

#
q q q

q q q
q q q q q q q q

q q q q q
47
q
2

3

4
# q

q
# q

q

q

Breathing Frenzy ( = 130) q

2
51
4 q q q q q q q q q q q q
ff

# q
2
4
ff

# q
2
4
ff

57

58
q q q q q q q q
#
#

67
Faster ( = 84)

# q
q q q
q q q
q q q q q q
f
# q q q q q q q q q q q q

f

73 Remove headjoint and play flute body like a trumpet.
q qqq q qqq q qqq q q

q q
q
f
# q
q q q
qq q
qq q q q q q
q q
# q q q q q q q q q q q q q q q

58

78
q qqq q qqq q qqq
# q q q q q q q q q q q q q
qq q
qq q
qq
# q
q q q q q
q q q q q q q q q

84
q q
q q
q q
# q q q q q
# q q q q q q q
q q q q q
q q

Shake flute for pitched vibrato.

90

pp
# q q q
# q q q

59
NYPD Bull Dogging
every bone needs to be stopped, frisked, and chewed
Congestion of blocks, grids, tantrums

signals for walkers saftey from
airconditioned cabs encapsulated in alloy
The seargeant at arms insures all goes well
rules enforced slobbered authority is not leashed.
You do not dare conjure the angular simplification

of square root J-walking, is illegal, fines, arrest
it does not matter the beauty of those ankles, slender or clubby
Snarl! chew and devour the low bones, blood, socks, shoe
from one and a half foot tall.
For if taller, throats would be chomped, no choke hold

no hand cuff, not frisky stops for minor missing demeanors
Zoned to the jugular, break the flow to the sense of self
All from New Yorks finest trained, tested and hero-ified.
A dog can do no wrong; abuse disregarded, spun stories

the them that shields from them, them terrorist of peace and rightness
from freedom of capitalized votes, chew the bones
of them that ain't no us, and if one of us stands by - chew their bones
chew the bones to the marrow.
Only the master is spared, the master that abuses captain dog.
Can't blame the dog, then the master, no! the master blames the dog
blame the shamer that shams the blammer shamming the sha-master.
it works so well during the enforcement of killing the poor.
60
NYPD Bull Dogging
every bone needs to be stopped, frisked, and chewed
q q
Craig Bakalian
q q q q q q q q
Fast q q q q q
Flute 3 + 43 + 2 q q q q q
ff decresc.
q q q q q q q
3+3+2 q q q q q q q
q q q q q q
Cello
4
ff decresc.
3+3+2
Bass
4 $ $
ff decresc.
3 q q q q q
q qqq qq
q q q q q
p mf
q q q q q q q q q q qq qq
q q q q q q q q q q
p mf

q
$
p f

q q qq q q q q qq qq qq qq qq qq qq q q

qq qq q q qq qq qq qq qq qq qq qq q q

q q q q q q q q q

q q
61
qq q q q q q q q q
8
qq qq qq q q q q

qq qq f
qq qq q q q q

f
q q qq qq

sfz sfz

1.
q q
q q q q q q q 2.
q q
q q q

11

q q q q q q q q
q q q q q q
q q q q q q
qq q

ff q q q
q q q q q q qq q q q q q q q q q qq q q
q q q q
ff
q q q q q q q q q q
ff
q q
62
$

q q q p
q

decresc.
q q $
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80
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sp ff decresc.
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sp ff decresc.

97

p
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69
she is the strangest teacher, but loved by all
This odd lady. She teaches badly.

Confused, thwarted, unstimulated minds
of students with fresh normal questions.
We still love her, she cannot go,
tenure aside, she is a darling we cherish
And the way of her ABCs is backwards,

random, crazy, CBAs, CABs, BCAs and
ZYXs or who knows what she will do
Next day, class, or lesson, will they happen?
Is she fit for instruction?
And her weekends, it is said, filled with

SNM, pre orgasmic asphyxiated extensions
wild orgasms that rise from the depths
of chakras up to the sarkach to the backwards
mystery of hedonisms in all of us.
Fishnets, whips, strange hoods, ropes,

regardless, we still love her because
she is mama rhino the beast that could
destroy everything in the way of any child's future.
70
she is the strangest teacher, but loved by all
Craig Bakalian
q q qq qq q q qq q qq qq q qq qqq qq q q
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71
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16
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72
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57
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75
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76
Four Axes
destroy to become god
Rise, the industrial might of

metal armor panzers, stukkas, und waffens
gestopoing their way into our
American white hammerhead youth
mind-mixed with southern antibellum
princes who stand supreme on football fields
God is Destruction
This game, is what? Intimidate all?

other races with a I will do anything
to destroy those not me even if I destroy me
my primitive cunning is my low social status
my burning flesh, malicious, sexist, survivalist;
we have no mothers, there was no Klara
God is Destruction
Ad hoc southern mixture of three Ks

symbols mean everything, signs, flags
Mein Kampf(too long to read), buildings on fire, beer halls
a way back machine to masters and cotton picken slaves
chron their way into each other, to a fugal state
God is Destruction
But now a hefty mix of rural drugs sold and used,

brain gel with a handful of little powder bags
four crack pipes, four dicks, and a porn site[...]
forget the blitzkrieg plans, there is nothing for the fuhrer
it is basic USA white stupid soup
God is Destruction
77
Four Axes
wolves destroy god to become god
Craig Bakalian
q
q
Moderate ( = 96)
Flute 45 q q q q q q q q q q q
ff
5 qq qqq qqqqq q qqqqq qqqqq q
Cello
4 qq q q q q q q q q q q q q q q q q q q q q
ff
5
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4 qq q q q q q q q q q q q q q q q q q q q q
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3 qq q q q q q q
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sp
qqqqq qq qqq q qq qqqq qqq qqq qqq qq
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5
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78
q q q q q q q
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q q

8

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q
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11

q q q q q q q q q q spq mf
q q q q q q q q q q q qq qq qq qq qq qq qq q q qq
q
q q q q
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sp f
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14
q q q q q q q q q q

sp
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79
q q q qqq q q q q q qqq

17
q q q q q q q q

ff p

q q
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ff p ff p ff p
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ff p ff p ff p ff p

q q q q q q q q q q
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ff p ff p ff p ff p
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q q
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21
q q
ff p
q q q q
!

ff qqq qqq p
q q q q q q q !
q q
ff p
q
March
q q q
q
( = 84)
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25
first time pp second time ff
! qq qq qq qq qq qq qq qq qq qq qq qq

q q
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q q qq q qqq qq
80
30 1.

q
2.q q
q q q

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35
q q

mp
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1. 2.
40
f q q
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f q q
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81
q q q

q

44
3 3 3 3

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mf
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48
3 3 3 3
3

3 3
q q q q
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52
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82
q q
57
q q
q q q q
q q q q
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f p f p f

qqqq
qqqq
qqqq
f p f p f
q
Moderate ( = 96)
q q q q
6 q q
61
q
4 qqqqq q q q q q q q q q q q q q q q
pp ff
6 qqqqq qqqqq q qqqqq qqqqq q
pp 4 qqqqq q q q q q q q q q q q q q q q q q
ff
6
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pp ff
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64
q q q qq

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83
q q q q

66
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ff

qqqqq qqqqq q q q q q q q q q q q q
ff
q q q q
q q q q q q q q
q q q q
q qq
68
qqq
sp
qqq qqq q q q q q q qqq q
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qqq qqq q q q
p

qqq qqq qq q q q q q q q q
p
q q q q q q
q
q q
q q q q
q q
70

f
q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q q
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mf
q
q
q
q q q q
q
q q q q
q
mf
qqqqqqqq q q q q qq q q q qq qq q q
84
q
73
q q q q q q q q q q

sp mf
q q q q q q q
q q q qq qq qq qq qq qq qq qq q q qq q q qq
q
sp f
q q q q q q q q q

q
q q q q
q
q q qq
sp mf
q q q q q q q q q
qqqq
q qqq q q
q q q q q q
Very Fast (q = 140)
15
76
8 q q
qq qq qq q qq spq q q q q q q q q
ff
q
q q q q 15

8 qq q qqq

sp ff
q
q
q q q q q q q q 15

8 qq q qqq
sp ff
q q
q q

79
q q
q q q q q q

q q
q q q
q q q q q q

q q

q

q q q
q q q q q q

q q

q

q q q
85
q q q qq qq qq qq qq qq
qq qq q q qq q q q q q q q
18
81
8
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q q q q

q q q qq q
18
8
fff
q q q q

q q q qq q
18
8
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qq qq qq

83
q

q q q q q q
q

85
q q q

q q
mp fff

q q q q q
mp fff

q q q q q
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86
Computer Duck
you cannot hide, ducking does not work
We must all bow dow

in a ritual of god music
only our ears can absorb
the channeling of intergalactic tonality
nothing is forced, natural adoration
of the crown jewel right of passage
this is it, the final numbered one
all else pale as simple mention
Mechanized to reduced all efforts

the cognative work beyond acculturation
to be replaced with evasive
complexity of social networking
as a basic who knows WTF
happy time to glide with friends
Ducks and hides, nobody is nobody

human talks to machine
then that machine to another machine
then that machine to another human
flimflammery, bamboozle, religion?
we don't pray, we hide inside our minds.
atleast I am not lying.

let the sun down, pull the blankets up
forgive us, we ducks don't eat food
do we ducks sleep? dream? wander?
87
Computer Duck
you cannot hide, ducking does not work
Craig Bakalian
mf

Moderate ( = 86)

!
q q q q
Voice

(8)
With wings of gold en yel low
! qqqqqqqq qqqqqqqq qqqqqqqq

p
Flute
p

! qqqqqqqq qqqqqqqq qqqqqqqq
p
Cello
p
! q q q q q q q q q q q
q
p p
Bass
6
q q
(8)
q q
bright webbed feet of jui cy or ange
q q q q q q q
q q q q q q q q q

88
10
q q q q q q
(8)
q q
q q q q q q qq q q q q q q q q q q q q q q q q q q q q q q q q
up to those dark eyes of black oil

q
q q q q q qq q q q q q q q q q q q q q q q q q q q q q q q q

14
q q
q q q q q q q
(8)
shine to a beak for songs of in the mud in
q q q q q q q q q q q q q q q q q q q q q q q q q q
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q q q q q q q q q q
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89
q q q q q q q qq
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18
q q q

(8)
q q q q q
my mind it is not not is it lost to ev ry where
q qq q q q q q q q q
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23
q q q q q q q q q

(8) I am not not am I, I have chos en my god
q q q q q q q q q q
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90
f
q q q q q q
28

q q q q q q q

(8) oh; com pu ter duck, there is no trace com pu ter duck is

q

q q

p p
qq qq qq qqqq qq qq qq qq qq qq qq
p p

q q q q q q q q q q
p q q
p
q q q q q q q q
q q q
34
q q q q q
(8)

in your face it is not here, I can not find It's ev ry where but
q
q

q q q

qq qq qq qq qq qq qq qq qq qq qq qq qq qq qq
q

q

f
91
q q "
38

(8)
in my mind click

f
q q
q q q q q q q q

f
q q
q q q q
q q

f
"
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41

(8)
here click there click click y click y click y Quack!

q q
qq q q q q q q q q q q
q
q q q q q q q q
q q

92
" " " " " " " "

44

q q
(8)
com pu ter duck wants you to click
q q q q q q q q q q q q q q q q q q q q q q q qqqq q
q

q q q q
q q q q q q q q q q
q
q q q q q
q q q q

" " " " " " " " " " " " " " " "
47
q q q
(8)
needs you to watch screen name pass word log in log out duck up duck down

qqq

decresc.

q q q q q q

q q q q q q q q
qqq

q q q
decresc.

decresc.
93

quack swishy mouth sound out of the side of cheek
mf
" " " " " " " & & q 3
52
4
(8)

no one can tell who I am. qwash.... I
q q q q q q q q q q q q q q q q q q 3
4
pp

q q q q q q q q q q q q q q q 43
q q q
pp

43
pp

43 q q
q q

q q q
57 = 86
q q q q
qq q
(8)
duck in my mind I'm not with a self I hide from the
q q q q q
43 q q
p
qq q qq q q q qq q qq qq q q q q qq
q q q q q q q q q
3
4 p
q

3

4 p

94
q
cresc.
q q q
62
q q q
qq
(8)
world to be free no ones here nor am I just

q q q q q
q qq qq
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qq q qq q qq q q qqqq q q
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q

q q

q qf
mf
q q q
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68
q q
q q q
(8)
hy per text trans fer pro to col I lie to my
q q q q q q q q q q q q q qqq q q
q q q q
q q q q q q q p

mf q q q q q qq q qq

q q q q q q q q
p
q

q

q q
mf p

95
q q q
q q q
74
q q q q q
q qq q q
self for a fan ta sy a vis ion of truth is not real

q
(8)
q q q q q q q q q
q
qq q qq q qq q q qq qq qqq q qq qq q qq q qq q
q q q q q q q

q q q q q q q q
q q q q q q
q q q q
cresc.
q q qf q
q q
80
q q
q
q q
(8)
you nor I can ev er know an art i fi cial in
q q q q q q
q q q q q q qq q q q qq
q q q q q q q q q q qq
q q q q mf
q

qq q q q

q

q q
mf
q q q q q q q
q q q q q q q
q
mf
ff
96
q
q

q q
86
tell i gence Sing, I am

(8)
qqqq q q q q q q q q
qqq q q q q q q
q q
f
q q q q q q q qq qq qq
q q q
q q
q q
q q
q q
q q
q
f

q
q
q
q

q q
q
mp ff

q q q q q

92
q
(8)
not heard lost, gone, ig nored Sing, I
q q q q q q q
q q q q
q q
q q q q q q q q q q
q
p f
qq
q q
q q q qq
q q q q
q q q q q
p f
q

q
q q q q
q
p f
mp
97

q q q
q q q
98
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Top Ten Video Game Music Slap Down!

Flute, Cello, Double Bass, and Voice

Creative Commons Attribution-NonCommercial 3.0

10) Crow Versus Squirrel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

9) Peanut Butter Pony Goes Undercover . . . . . . . . . . . . . . . . . . . . . . 20

7) Enter the Mystic Labyrinth of the Mental Abyss . . . . . . . . . . . . . 33

5) King Monitor Lizard, our Royal Highness . . . . . . . . . . . . . . . . . . . 51

4) NYPD Bull Dogging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

3) Ms. Rhinoceros Teaches the ABCs . . . . . . . . . . . . . . . . . . . . . . . . 69

I have always enjoyed and appreciated artful language. I am not a poet.

Some of the poems became free associations into an exaggerated state of

The trick is to give a concert audiance an artful music experience and at

Crow Vs. Squirrel

Peanut Butter Pony Goes Undercover

Enter the Mystic Labyrinth of the Mental Abyss

King Monitor Lizard, Our Royal Highness

NYPD Bull Dogging

Ms. Rhinoceros Teaches the ABCs

The Four Axes

Behold, the beatific ascent to blue ribbon acclaim

A trip through the brain pleasures unwind the ear flavors

Resting of gluts for you, for we, I, no it is we the sovereign

starting with number ten, Crow V. Squirrel

Into the bowels of black roads winding

Behold, the talents of the sun god Ra

Ancient gladiators of Ra meet on the street

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Clippity Clippity Cloppity Clop

Under the covers this oversexed knight

Hippity Hippity Hoppity Hop

Bright noisy shapes increase the nitrous oxide in my head

Deep in the infinite expanse of neurons resides something I call I.

Try as you will, endeavour to change the other or others.

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 Very Slow    

It is said that a Kung Fu Kat can walk up walls,

Drop a peeble, dialation of diamond eyes

Sopor, dreaming of the hunt and the wild.

We have Carradine to thank for the TV

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Anachronistic lost island, neolithic rituals

Nothing is sacred, shamans rule with gross stories

Women are from the King copulating with a man

All, tales aside, headhunting is a capitalist

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Congestion of blocks, grids, tantrums

You do not dare conjure the angular simplification

For if taller, throats would be chomped, no choke hold

A dog can do no wrong; abuse disregarded, spun stories

This odd lady. She teaches badly.

And the way of her ABCs is backwards,

And her weekends, it is said, filled with

Fishnets, whips, strange hoods, ropes,

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Rise, the industrial might of

This game, is what? Intimidate all?

Ad hoc southern mixture of three Ks

But now a hefty mix of rural drugs sold and used,

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