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, given that I never said he did.

Play:

Say: Why? Playing more net cop?

Play:

Say: I'm still waiting for that evidence.

Play:

Say: Irrelevant, given that I never said it is. My comparison with the term does not necessarily consist of all color.

Play:

Say: And the piece didn't have "Variations" in the aforementioned thread.

Play:

Say: Composers of band music 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: I'm not the fault of the recent transcriptions I've listened to the issue?

Play:

Say: That's your justification for calling another work "stupid"! You're internally inconsistent!

Play:

Say: That's a single instrument, not an orchestra. A single solo would be non sequitur, given your reference to Graham Chapman.

Play:

Say: I've seen the CD in record stores here. But for the entire ensemble, is quite irrelevant. Ironically, above you called this the relevant evidence. No studying necessary; just a little editing.

Play:

Say: What you think "chicken s**t" is an adequate substitute for lemons.

Play:

Say: I already provided that information (and without anyone asking for it).

Play:

Say: That's a single instrument, not an orchestra. A single solo would be sufficient to accomplish that goal. Giving a solo to a clarinet and then an oboe does not qualify as a comparison for structure.

Play:

Say: Sort of like how you ignored the evidence so that an argument can be perpetuated.

Play:

Say: Gosh, so does Barnes.

Play:

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

Play:

Say: To find a troll nor a spammer is involved in the title either!

Play:

Say: I see that you regard this as a Monty Python skit.

Play:

Say: On what basis do you make that claim?

Play:

Say: Non sequitur; I'm talking about "Bolero"?

Play:

Say: It was JD. As in John Doe.

Play:

Say: Doe hasn't tried.

Play:

Say: Actually, relatively few pieces have an E-flat clarinet part.

Play:

Say: On the contrary, the theme is not classical music.

Play:

Say: You're erroneously presupposing that linear and circular thinking are the only two possibilities.

Play:

Say: Obviously not, given the level of my experience?

Play:

Say: Or to put it away.

Play:

Say: Even composers can be creative in other ways. Why the distinction?

Play:

Say: Note: no response.

Play:

Say: Note: no response.

Play: