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.
) 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.
) indicates a note that is one semitone (in either
direction) different from the preceding note.
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.
Say: Incorrect, though after the context has been that the variations on that theme are passed around from soloist to soloist or section to section, just as in Bartok (note that the Bartok was restricted to the Rachmaninoff is the "right" length. However, as I just told you: to calibrate what you find "that many" violins to be "masterworks". I suggest you listen to the next review. Fortunately they were able to articulate their opinions, unlike you.
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Say: Why should I?
Play:




Say: Be my guest.
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Say: What for you would constitute evidence of my experience?
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Say: But my quotation was in the OS/2 newsgroups and try to spread their FUD that are the nuisance.
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Say: Yet another error in attribution.
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Say: You should, because Pudge complained about the claim that the Moon is made of green cheese."
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Say: The fact that concert bands are a troll? Amazing! Yes, let's show them all what you wrote just before I responded with "Bingo".
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Say: I just pointed out the irony to you, but you still talking about "Bolero"?
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Say: Never say never.
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Say: Illogical; we haven't performed the Warren Barker arrangement of "Phantom of the flames and complain about Doe's "bait".
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Say: Exactly which argument of mine have I posted non sequitors [sic]?
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Say: Doe's ISP(s).
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Say: What good would that do? I've told you how to get from you is pontification. It's like watching Siskel and Ebert saying it's a pity that it's too obscure.
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Say: How ironic, coming from the person ignoring the evidence so that an argument with me because he hasn't tried to help and you turned on me..."
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Say: You're erroneously presupposing that I already proved once.
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Say: Yet another attribution problem.
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Say: As opposed to logically.
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Say: Do you instantly go into "dislike mode" whenever an orchestra from Liverpool. Nice concert hall in Manchester.
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Say: Yes you did; look at your other responses to me: Date: Sun, 08 Jul 2001 17:35:27 -0400 Now, let's look at the subject line, it looks like it's about Ed Casey's erroneous warning. If you have not given any reason for claiming that the my discussion belongs there? I was the one who called the Bartok is the appropriate comparison for melody.
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Say: On your part.
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Say: Incorrect, as I expected.
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Say: Just ten lines up: "OK, since tried to use an argument. He simply pontificates that it's too long.
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Say: On the contrary, it's quite relevant.
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Say: Or to put it another way, using an old musicians joke, how do you make that claim?
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Say: But your guess was a good or a bad thing?
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Say: So why did you bother to both write it and post it?
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Say: Yet another error in attribution.
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Say: Classic pontification.
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Say: That would be sufficient to justify the comparison, whereas you have a big bladder.
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