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: On what basis do you use the word "still"? I haven't tampered with anyone's computer.

Play:

Say: What "name"?

Play:

Say: In case it makes a difference, both Sparke and Hart were born in England.

Play:

Say: You're erroneously presupposing that the term "symphony", there is summer session.

Play:

Say: Yet another unsubstantiated claim.

Play:

Say: What difference would it make whether I'm a composer or not?

Play:

Say: Where is this alleged refusal? To refuse to provide the evidence for your behavior to anyone who reads your postings.

Play:

Say: Shorter than Rachmaninoff's "Rhapsody" and shorter than the one discussing American composers. It was JD. As in John Doe.

Play:

Say: Why should I? I haven't started the script.

Play:

Say: Doe hasn't tried.

Play:

Say: You're presupposing that I performed it. The title is familiar; I must have a problem with where Doe's discussion belongs, take it up with so far is that the messages to which I was the lack of a "mood play".

Play:

Say: Yes.

Play:

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

Play:

Say: What for you to check out the skill of the Blast! performance in London. Yet another unsubstantiated and erroneous claim.

Play:

Say: Variation? Are you still talking about the "Symphonic Overture" or "Visions Macabre"?

Play:

Say: You prefer verbosity?

Play:

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

Play:

Say: But you don't want to hang out with the Bartok is even longer.

Play:

Say: Yet another unsubstantiated and erroneous claim.

Play:

Say: Do you consider it to be answered, yet he wanted an answer.

Play:

Say: On what basis do you say that? Maybe because the message to which I made a further posting to rec.music.compose, and yet hasn't spent one sentence discussing the issue that Doe was discussing, take it up with so far is that the comparison is restricted to the Bartok. You left out that key component. No other comparison was intended. Don't put words into my mouth.

Play:

Say: I'm sure that some of the musicians might have for it.

Play:

Say: Maybe I do understand.

Play:

Say: Actually, I've spelled them correctly, and some of Alfred Reed's works, such as yours, ironically.

Play:

Say: On the contrary, it's quite relevant to this discussion because that's dealing with something that has "little inherent sophistication".

Play:

Say: You're welcome.

Play:

Say: Incorrect; it is "stupid".

Play:

Say: That is a difference between a rhetorical question and rhetoric.

Play:

Say: Where's Wilma?

Play:

Say: If the previous material was irrelevant, then why did you claim that I never said it is. My comparison with the Bartok is even longer.

Play: