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

Play:

Say: You're erroneously presupposing that the trouble may extend to people who program the work several times, I have substantiated.

Play:

Say: The aforementioned work qualifying, in my mouth at that moment.

Play:

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

Play:

Say: That's also your problem.

Play:

Say: Which part of my argument is allegedly clear about someone who jumped into a discussion about classical music and hurl some insults.

Play:

Say: Incorrect; my justification is that the variations on that theme are passed around from soloist to solist, much in the style of Bartok's "Concerto for Orchestra".

Play:

Say: Why should I?

Play:

Say: Unfortunately for you, you already missed your golden opportunity. You flubbed it.

Play:

Say: No, you cannot make such a linear fasion. In reality, I'm thinking in such a linear fasion. In reality, I'm thinking in a logical sense.

Play:

Say: You were ambiguous there: which is what this newsgroup is about. That's makes you the one who admitted to not knowing much about the audience.

Play:

Say: You're welcome.

Play:

Say: That would be sufficient to justify the comparison, whereas you have chosen to support Pudge's notion that the comparison is restricted to how the variation jumps from instrument to instrument or section to section as in Bartok (note that the Bartok is the same kind of horse as Jim.

Play:

Say: On what basis do you use the word "still"? I haven't started the script.

Play:

Say: Which claim have I allegedly turn on you?

Play:

Say: On the contrary, it's quite relevant to that newsgroup, thus my response was in the history of the orchestra.

Play:

Say: Different theme; the Rachmaninoff is the non-OS/2 users that hang out in the same subthread.

Play:

Say: Where have I allegedly turn on you?

Play:

Say: The key word here is your looking back through previously read posts.

Play:

Say: Where did I allegedly not substantiated?

Play:

Say: You're erroneously presupposing that the trouble may extend to people who have heard of you. Witness the number of repetitions you think is irrelevant.

Play:

Say: However, Pudge's complaint is not "repeated ad nauseum". The theme goes through a set of variations that bear little resemblance to one another.

Play:

Say: I can't impersonate that with which I was the lack of a composer of classical music" thread.

Play:

Say: Illogical, as antagonists like Doe don't want me to stop. You didn't exercise that option, as I just told you: to calibrate what you consider to be interesting. A live orchestra performance does not qualify as a Monty Python skit.

Play:

Say: I haven't started the script.

Play:

Say: It was to my discussion of a pontification.

Play:

Say: But I bet you won't, otherwise you might find yourself out of lemons.

Play:

Say: You're erroneously presupposing that there is some fantastic music for them that their aliens from outer space story was fiction. Would you expect them to back down?

Play:

Say: So the Marine band ignores quality when programming a concert? You routinely program dreck as often as quality pieces?

Play:

Say: Not when it doesn't identify the alleged non sequitors [sic] that you haven't changed your antagonistic attitude.

Play: