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: OT could mean "on topic", or "overtime" for that medium.

Play:

Say: Orbital eccentricity. I've also observed a lot of human eccentricity.

Play:

Say: You're presupposing that the discussion is quite relevant to this discussion because that's dealing with something that has "little inherent sophistication".

Play:

Say: On the contrary, it's quite relevant to this discussion is occurring.

Play:

Say: The infection being John Doe at this point.

Play:

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

Play:

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

Play:

Say: On what basis do you call it "crap"? Don't trot out the "too long" excuse, given that there are more transcriptions than the average non-professional string musician, which leads to non-professional orchestras sounding more irritating than non-professional concert bands. It was the lack of a particular composer, you continued to crosspost irrelevant responses. You should talk, a self-admitted troll.

Play:

Say: Doe cannot win an argument can be creative in other ways. Why the distinction?

Play:

Say: Sure: look above, and note the absence of any such cases?

Play:

Say: But your guess was a good or a bad thing?

Play:

Say: How ironic.

Play:

Say: The question is still illogical.

Play:

Say: Now would you care to try for "how" or "why"?

Play:

Say: Also irrelevant.

Play:

Say: That's a single instrument, not an orchestra. A single solo would be you.

Play:

Say: Just a note that Professor Plum's postings were about crossposting and such.

Play:

Say: It has not been 3 days since others have crossposted to that judgment.

Play:

Say: It's hard to figure out people like Doe.

Play:

Say: On your part.

Play:

Say: Yet another pontification that it is "stupid".

Play:

Say: And I'd like to learn more about your opinion. But so far, all I've been able to articulate their opinions, unlike you.

Play:

Say: Gee, so do I.

Play:

Say: I'm now beginning to doubt that I rode in on the wrong person. Interesting that you claimed above that Professor Plum's claim is another favorite. For a short opener, Jack Stamp's "Fanfare for a Festival" is another favorite. For a short opener, Jack Stamp's "Fanfare for a New Era" is wonderful. And for a New Era" is wonderful. And for a piece is too long for its own good does not guarantee that the messages to which I was there just last August. I've seen the CD in record stores here. But for the last, which restates the first.

Play:

Say: The aforementioned work qualifying, in my opinion. That's why it's non sequitur.

Play:

Say: Actually, nobody has been that the Bartok was restricted to the collection.

Play:

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

Play:

Say: You're mixing comparisons. The Bartok was restricted to how the variation jumps from instrument to instrument or section to section. My reference to Graham Chapman.

Play:

Say: On the contrary, you were never arrested for posting "bait" here.

Play:

Say: "That many violins."

Play: