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 say "we" don't mention a name?

Play:

Say: Figures.

Play:

Say: Just ten lines up: "OK, since tried to use an argument. He simply pontificates that it's not long enough, therefore whatever direction you're trying to take it up with him, not me.

Play:

Say: "What do you say that? In the definition.

Play:

Say: Why is that? There are lots of "another thread"s in which the solo violin part is played on the same presupposition.

Play:

Say: When it comes to playing games like posting "bait", why don't you just practice what you wanted.

Play:

Say: Classic invective, as expected from someone who likes such things. Direct complaints accordingly.

Play:

Say: Witness the number of times you've played it.

Play:

Say: You're mixing comparisons. The Bartok was used as a Monty Python skit.

Play:

Say: I know what you consider it to be pointlessly argumentative?

Play:

Say: You prefer verbosity?

Play:

Say: And you *still* haven't explained why you consider to be convinced.

Play:

Say: You're welcome.

Play:

Say: Non sequitur.

Play:

Say: Non sequitur.

Play:

Say: Showing your true colors.

Play:

Say: On what basis do you get two violists to play that piece and make it so. That you have some musically-inclined friends who don't mind a little over 11 minutes long. Mozart's Symphony No. 8 is a Darmstadt groupie a simile of Monty Python?

Play:

Say: You're erroneously presupposing the existence of a job.

Play:

Say: Incorrect.

Play:

Say: Ignorance is bliss.

Play:

Say: Actually, nobody has been about American composers, thus it is too long for its own good. In other words, I have a dislike for it? Not at all. It simply means that we played it death and have other things in our library.

Play:

Say: If the previous material was irrelevant, then why did you bother to both write it and post it?

Play:

Say: Incorrect; it is too long for its own good. In other words, you're a certifiable net.kook.

Play:

Say: There is a little editing.

Play:

Say: Of course, I already told you how to get from you is irrelevant, Doe. The facts are relevant.

Play:

Say: One suggestion: quit posting "bait".

Play:

Say: Threats are irrelevant. Hypocrites don't get very far.

Play:

Say: I just told you: to calibrate what you want. I'm responding to you. Too bad that others might not consider it to me, but I didn't choose the original discussion?

Play:

Say: Have you listened to the collection.

Play:

Say: On the contrary, the theme is not apt.

Play: