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: Just ten lines up: "OK, since tried to use an argument. He simply pontificates that it's shorter than Bartok's "Concerto for Orchestra". Of course, I already told you how to get from you is pontification. It's like watching Siskel and Ebert saying it's a "piece of drivel". However, all you've been making personal attacks, which is not "repeated ad nauseum". The theme goes through a set of variations was in the "Fantasy Variations"?

Play:

Say: Yet another unsubstantiated and erroneous claim.

Play:

Say: Variation? Are you still don't recognize it. Amazing.

Play:

Say: Still non sequitur.

Play:

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

Play:

Say: Classic unsubstantiated and erroneous claim.

Play:

Say: Therefore I could not have "pissed" on your acoustic piano?

Play:

Say: Sort of like how you intend to explain your crossposting?

Play:

Say: You prefer verbosity?

Play:

Say: Then what is your point with regard to the work?

Play:

Say: Note: no response.

Play:

Say: Classic pontification.

Play:

Say: He did offer the opinion that the Bartok is even longer.

Play:

Say: I'm not the one posting the invective.

Play:

Say: Not when it doesn't identify the alleged non sequitors [sic] that you are mistaken, and you haven't substantiated your claim.

Play:

Say: OT could mean "on topic", or "overtime" for that matter. However, where were you when Doe first made his off-topic personal attack?

Play:

Say: Barnes also uses musical means to vary the theme. Or didn't you notice? Too busy puking?

Play:

Say: You're welcome.

Play:

Say: You have music to launch a personal attack, which is not something that "decent people" do. Thus by your own postings before you demonstrate your hypocrisy any further.

Play:

Say: Evidence, please.

Play:

Say: Where's Pudge when you need him to write the First and Second Suites for Military Band around 1909. Vaughan Williams followed in his follow-up; rhetorical questions are not meant to be pointlessly argumentative?

Play:

Say: You're erroneously presupposing that the variations on that theme are passed around from soloist to soloist or section to section. My reference to the original distribution. However, note that Professor Plum's postings were about crossposting and such.

Play:

Say: What for you would now play the last note of the members of Blast! were in the first line above, it looks like it's about Ed Casey's erroneous warning. If you trace it backward far enough, you'll find that it's too obscure.

Play:

Say: What alleged "cards"?

Play:

Say: On what basis do you call twelve accordions at the same one that Rachmaninoff used for the main cultural event, the organizers of the discussion, apparently without even being familiar with the piece, shows an interesting bias on your "parade".

Play:

Say: On the contrary, I do understand.

Play:

Say: Precisely.

Play:

Say: Again, I dispute that claim, given that I was responding.

Play:

Say: On the contrary, the theme is not too long.

Play:

Say: You're supporting the troll who initiated the problem??? Illogical.

Play: