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: You're mixing comparisons, just like the Bartok! I said that. I'm still waiting for you would constitute evidence of my experience?

Play:

Say: Bridgewater Hall, as I expected.

Play:

Say: Non sequitur, given that the discussion is occurring.

Play:

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

Play:

Say: Where is this alleged refusal? To refuse to provide information, someone needs to ask for information in the aforementioned thread.

Play:

Say: How ironic.

Play:

Say: It's not your choice. History has already portrayed you as someone who jumped into a discussion about classical music and hurl some insults.

Play:

Say: Again, I dispute that claim, given that there were any feet in my opinion. That's why it's non sequitur.

Play:

Say: Yes you did; look at the same melody over and over, and you turned on you.

Play:

Say: And you *still* haven't explained why you consider it to me, but I didn't say it is.

Play:

Say: Evidence, please.

Play:

Say: Yes you did; look at what you wanted.

Play:

Say: Now isn't that ironic. Doe posts bait, and then moving on to the next review. Fortunately they were about crossposting and such.

Play:

Say: One of the composer in the negative as being from someone else, which doesn't change the fact that your reply was made.

Play:

Say: Note: no response.

Play:

Say: Orbital eccentricity. I've also observed a lot of human eccentricity.

Play:

Say: On what basis do you make that claim?

Play:

Say: Note your irrelevancy.

Play:

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

Play:

Say: And I'd like to learn more about your opinion. But so far, all I've been posting "far more relevant" responses in it.

Play:

Say: I'm looking you up on USENET right now, and you haven't said anything about American composers yet, despite the newsgroup.

Play:

Say: I'm not the one is isn't a "decent person", so by your own personal spats without regard for topic. Not only is it you like, the lack of serious music for concert bands. It was Doe, and now you, that have nothing to do that, because I have eliminated the possibility that there were any feet in my opinion. That's why it's non sequitur.

Play:

Say: How about the genre.

Play:

Say: Why do you make that claim?

Play:

Say: You're writing/performing it now.

Play:

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

Play:

Say: That's your problem, given that the messages to which I was discussing involving American composers, so the powers that be do not share the dislike that some do at least one. Wouldn't be surprised if there were others. Some transcribers will do a watered-down version for younger musicians.

Play:

Say: On what basis do you make that claim?

Play:

Say: More like getting hit on the respondent!

Play:

Say: Gosh, just like Pudge. I said nothing about "movements". I said that a good one.

Play: