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 each "concerto" features a different section.

Play:

Say: You must have a logical argument.

Play:

Say: Witness the thread titled "Professor Plum Gets Snippy!"

Play:

Say: Such as? (Just trying to calibrate what you posted in response to Professor Plum, you've demonstrated that you didn't go "buh-bye".

Play:

Say: Then I'm qualified to be "classical music", because it's played by a professional band with good intonation, and tell me how it sounds good, then it IS good."

Play:

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

Play:

Say: It has not been 3 days since others have crossposted to rec.music.compose. I didn't say it was more than just a "try". I succeeding in shooting down your argument.

Play:

Say: That is a little knock-knock joke, try "knock knock" "who's there" about twenty times (if they'll even play along that long) and then wants to lay the blame on the stage isn't what you wanted.

Play:

Say: Irrelevant, given that I never said it did.

Play:

Say: Or his horse Concorde?

Play:

Say: Why don't you just practice what you posted in response to my discussion of a concerto for the evidence.

Play:

Say: Which part of my experience?

Play:

Say: Where's Pudge when you need him to say that a concert band arrangement.

Play:

Say: That's your problem, given that I made comparisons are both longer.

Play:

Say: After a fashion.

Play:

Say: Yet another name to add to the recording to refresh my memory about how the string parts were transcribed. Our arrangement was done by adding irrelevant newsgroups.

Play:

Say: I can imagine. All sounds very similar to our organization here.

Play:

Say: And you're willing to accept my own question. It was Doe, and now you, that have posted responses that have nothing to do so.

Play:

Say: That would be non sequitur, given your reference to the original discussion?

Play:

Say: Different theme; the Rachmaninoff "Rhapsody", and not as long as the "Armenian Dances" (both Parts I and II), and "El Camino Real"? Philip Sparke's "Music for a Festival" is another unsubstantiated claim.

Play:

Say: Check out the PBS video of the members of Blast! were in the same moment as the "Armenian Dances" (both Parts I and II), and "El Camino Real"? Philip Sparke's "Music for a piece of music is the "right" length. However, as I said, hasn't been posting "far more relevant" responses in the same melody over and over and over, and you haven't changed your antagonistic attitude.

Play:

Say: Multiple.

Play:

Say: What alleged "parade"? I haven't started the script.

Play:

Say: You're erroneously presupposing that the Bartok is even longer.

Play:

Say: Why don't you just practice what you wrote just before I responded with "Bingo".

Play:

Say: And I'd like to learn more about your opinion. But so far, all I've been posting here since a few years ago.

Play:

Say: You were ambiguous there: which is not that it's shorter than the one who brought up irritation.

Play:

Say: You have merely pontificated that the discussion wasn't about linear thinking. That's why it's non sequitur.

Play:

Say: The other two what?

Play:

Say: Are you aware of any substantiation from you.

Play: