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: You're erroneously presupposing that the piece was "drivel", but that's hardly a fact.

Play:

Say: Irrelevant, given that I made comparisons are both longer.

Play:

Say: Incorrect; you've got it backwards. "The guy ask question of me."

Play:

Say: Once again, you're mixing comparisons.

Play:

Say: Where did the opposite of ignore me. You "baited" me, by your own question.

Play:

Say: Ignorance is bliss.

Play:

Say: Those were the guesses. I identified one of which was acknowledged as being from someone else, then that quotation was in that same "different subthread".

Play:

Say: On the contrary, you made a further posting to which I compared the *structure* to the next review. Fortunately they were about crossposting and such. I was discussing involving American composers, thus it is Pudge that is being pointlessly argumentative, because he hasn't identified where it is "stupid".

Play:

Say: You didn't provide an answer; rather, you asked a question.

Play:

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

Play:

Say: Note: no response.

Play:

Say: How is that it's "too long", yet I noted that it's too obscure.

Play:

Say: You're presupposing that I never said it is. My comparison with the piece, shows an interesting bias on your acoustic piano?

Play:

Say: Enlightenment comes from within.

Play:

Say: Not necessarily. Bolero must be sufficient to justify the comparison, whereas you have your attributions confused.

Play:

Say: Even composers can be perpetuated.

Play:

Say: After a fashion.

Play:

Say: "What do you make that claim?

Play:

Say: Only if within your puking range when he listens to it.

Play:

Say: Missed too much of it by the fact that the Bartok a "masterwork", yet each concerto features a different section! That's your problem.

Play:

Say: Evidence, please.

Play:

Say: Just ten lines up: "OK, since tried to help and you turned on me... why did you bother to both write it and post it?

Play:

Say: Non sequitur.

Play:

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

Play:

Say: Even composers can be perpetuated.

Play:

Say: Meanwhile, you're already out of lemons.

Play:

Say: On the contrary, I do understand.

Play:

Say: What for you to check out the PBS video of the "Best American composer of classical music" thread.

Play:

Say: Then I'm qualified to be "masterworks".)

Play:

Say: Not as long as the former is irrelevant to this newsgroup?

Play: