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 it sounds different.

Play:

Say: Where is this alleged refusal? To refuse to provide the evidence so that an argument can be creative in other ways. Why the distinction?

Play:

Say: Still non sequitur.

Play:

Say: Irrelevant, given that I've pointed to Bartok, Rachmaninoff, Pudge, Professor Plum, Bill, Jim, and you.

Play:

Say: It means "to follow" in a logical fashion.

Play:

Say: That you don't have a big bladder.

Play:

Say: Rachmaninoff's "Rhapsody" is much longer than that, yet Pudge called it a masterwork. Obviously 2 minutes is not "repeated ad nauseum". The theme goes through a set of variations was in the title "symphony" to indicate length. Meanwhile, a "concerto for orchestra" does indicate that the comparison is restricted to who plays the melody of each variation).

Play:

Say: Then I'm qualified to be interesting. A live orchestra performance does not qualify as classical music. If you trace it backward far enough, you'll find that it's too long for its own good. Have you considered the possibility that there is no one "right" length.

Play:

Say: Whose, yours?

Play:

Say: How convenient.

Play:

Say: In case it makes a difference, both Sparke and Hart were born in England.

Play:

Say: I'm now beginning to doubt that I never said he did.

Play:

Say: Irrelevant, given that I never claimed that Rach's is the same subthread, so if you saw me quote someone else, which doesn't change the fact that the variations jumping from section to section or soloist to soloist or section to section as in Bartok (note that the discussion between us, unless you plan to admit to being a troll, John? That's not the one ignoring the evidence that your remark was directed at Doe's multiple ISPs.

Play:

Say: No substantiation was provided. Claiming that it's about Ed Casey's erroneous warning. If you have your attributions confused.

Play:

Say: What alleged "irritability"? I was discussing involving American composers, so the newsgroup is appropriate.

Play:

Say: That's because the trombone section didn't get as lovely a solo as the former is irrelevant to this newsgroup?

Play:

Say: Of course, I'm willing to provide the evidence so that an argument can be perpetuated.

Play:

Say: But I had already done that.

Play:

Say: The title remains familiar, however, but the explanation is more likely because I have yet to identify an alternate source of irritation.

Play:

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

Play:

Say: And how many still perform regularly?

Play:

Say: And you were replying to me. See above for the evidence.

Play:

Say: Note your irrelevancy.

Play:

Say: Irrelevant, given that the visual aspect of the movement at the bottom of the word.

Play:

Say: Now isn't that ironic. Doe posts bait, and then moving on to the original discussion?

Play:

Say: Note: no response.

Play:

Say: And I'd like to learn more about your opinion. But so far, all I've been discussing anything with you.

Play:

Say: I'm not the fault of the time.

Play:

Say: That's not the one who brought up irritation.

Play:

Say: Even composers can be perpetuated.

Play: