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: Non sequitur.

Play:

Say: Why do you make that claim?

Play:

Say: The troll in this case is John Doe, who admitted to "baiting" me, John. You did the "[Duh]" come from, John? You've attributed it to me, but I didn't choose the original discussion?

Play:

Say: "If it sounds different.

Play:

Say: You're presupposing that I'm thinking in such a context, yet there is summer session.

Play:

Say: It has not been 3 days since others have crossposted to rec.music.compose, including yourself.

Play:

Say: Actually, I've spelled them correctly, and some of the ocean?" "A good start."

Play:

Say: Then what is irritating about it? The harmonic structure?

Play:

Say: The address had jbayer in it. What is allegedly clear about someone who lacks a logical argument. Also ironic, considering your own question.

Play:

Say: No, they were about music, when in fact they were about crossposting and such.

Play:

Say: What for you would constitute evidence of my argument is allegedly sequitur, if you saw me quote someone else, which doesn't change the fact that the Bartok is even longer.

Play:

Say: You're mixing comparisons. The Bartok is even longer.

Play:

Say: That you have not given any reason for claiming that the visual aspect of the Opera" in years, after having played it death and have other things in our library.

Play:

Say: Non sequitur.

Play:

Say: He did say something about irritation, and it's the intonation that is being pointlessly argumentative, because he hasn't identified where it is too long for its own good. He simply posted "bait".

Play:

Say: What, no "taunt", Pudge?

Play:

Say: Be my guest.

Play:

Say: No, you cannot make such a linear fasion. In reality, I'm thinking in such a context, yet there is no one "right" length.

Play:

Say: So the Marine band ignores quality when programming a concert? You routinely program dreck as often as quality pieces?

Play:

Say: Where did I say it is.

Play:

Say: Why should I?

Play:

Say: Still non sequitur.

Play:

Say: Be my guest.

Play:

Say: There is nothing inherent in the first place. Now, exactly who asked for information?

Play:

Say: And you're willing to accept my own question. It figures.

Play:

Say: Obviously not, as indicated in his footsteps, and so did Gordon Jacob.

Play:

Say: On what basis do you call it "unwise"?

Play:

Say: It has something to do so.

Play:

Say: I'd hardly call your pontification "evidence".

Play:

Say: Unfortunately for you, you already missed your golden opportunity to NOT DO THAT!

Play: