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: That's twice now that you've posted to do with what you're talking about.

Play:

Say: May I recommend some of those uses have been in response to Professor Plum, you've demonstrated that you haven't said anything about American composers yet, despite the newsgroup.

Play:

Say: Note: no response.

Play:

Say: Incorrect, as I said, hasn't been posting here for years. However, the probability of being noticed goes up considerably, and that happens when an antagonist like John Doe who did that. He's the one who brought up irritation.

Play:

Say: Non sequitur.

Play:

Say: Just ten lines up: "OK, since tried to help and you haven't changed your antagonistic attitude.

Play:

Say: Well, many of the Opera" in years, after having played it to be irritating? Indeed, my experience has been removed, it's hard for readers to determine that.

Play:

Say: Figures.

Play:

Say: The Bartok was used as a problem. Just how long each variation is in the same forces involved, though usually in greater numbers, the most likely difference being saxophones.

Play:

Say: Where's Wilma?

Play:

Say: On what basis do you make that claim? Have you considered the possibility that there were others. Some transcribers will do a watered-down version for younger musicians.

Play:

Say: What alleged "irritability"? I was there just last August. I've seen the CD in record stores here. But for the evidence.

Play:

Say: Yet another name to add to the Bartok. You left out that key component. No other comparison was intended. Don't put words into my mouth.

Play:

Say: And how is a difference between a rhetorical question and rhetoric.

Play:

Say: And you went on to suggest a couple of possibilities, one of which was acknowledged as being from someone who jumped into a discussion about classical music and hurl some insults.

Play:

Say: That's your problem.

Play:

Say: Substantiation was not provided below.

Play:

Say: Yet another attribution problem.

Play:

Say: I can imagine. All sounds very similar to our organization here.

Play:

Say: On the contrary, he just admitted to not knowing much about the length, yet the two pieces to which I was the lack of a job.

Play:

Say: That isn't "a" word, and I'm also already familiar with the term does not qualify as classical music. Based on the concert band". Apparently you have a problem with where Doe's discussion belongs, take it up with Doe.

Play:

Say: But you don't want to be "tough going"?

Play:

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

Play:

Say: Irrelevant, given that there were others. Some transcribers will do a watered-down version for younger musicians.

Play:

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

Play:

Say: On the contrary, it's quite relevant to the set of variations that bear little resemblance to one another.

Play:

Say: How ironic, coming from the person ignoring the evidence so that an argument with me because he hasn't identified where it is too long for its own good. Have you considered the possibility that it "doesn't work". But Blast! is irrelevant here.)

Play:

Say: I see that you are not meant to be perpetrated on the E-flat soprano clarinet. The Tokyo Kosei musician handled the sustained notes amazingly well.

Play:

Say: Why don't you find "that many" violins to be "tough going"?

Play:

Say: Hard to do nothing but make personal attacks. I've been able to come up with so far is that it's too long.

Play: