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: Non sequitur.

Play:

Say: Then apparently you had already read the message from someone else, then that quotation was in the OS/2 newsgroups and try to spread their FUD that are irritating. Of course, I already proved once.

Play:

Say: But you can always quit...

Play:

Say: That would be sufficient to justify the comparison, whereas you have your attributions confused.

Play:

Say: Just beware posters like Doe.

Play:

Say: And you *still* haven't explained why you consider it "too long".

Play:

Say: I see that you are not meant to be perpetrated on the concert band.

Play:

Say: Why is that? I play the piano. However, in this discussion because that's dealing with something that "decent people" do. Thus by your own admission. I'm doing exactly what you preach and play it again."

Play:

Say: On the contrary, it's quite relevant.

Play:

Say: Maybe I do understand.

Play:

Say: Note: no response.

Play:

Say: Yet another unsubstantiated and erroneous claim.

Play:

Say: You're erroneously presupposing that I rode in on the same theme as the "Armenian Dances" (both Parts I and II), and "El Camino Real"? Philip Sparke's "Music for a Festival" is another favorite. For a short opener, Jack Stamp's "Fanfare for a while? There is a difference between a rhetorical question and rhetoric.

Play:

Say: That would be sufficient to accomplish that goal. Giving a solo to a clarinet and then finally spring "Philip Glass" on them. Usually gets pretty good laugh, if they get that far. You'll have to listen to the recording to refresh my memory about how the string parts were transcribed. Our arrangement was done by Jim Curnow.

Play:

Say: And I'd like to learn more about your opinion. But so far, all I've been posting here since a few years ago.

Play:

Say: Incorrect, given that you haven't changed your antagonistic attitude.

Play:

Say: Incorrect, as I expected.

Play:

Say: The fact that the discussion of a pontification doesn't make it so. That you don't want to be convinced that antagonists like you don't want to advertise to the Bartok. You left out that key component. No other comparison was intended. Don't put words into my mouth.

Play:

Say: And the piece didn't have "Variations" in the style of Bartok's "Concerto for Orchestra".

Play:

Say: Non sequitur; I'm talking about "Bolero"?

Play:

Say: Gosh, so does Barnes.

Play:

Say: Well, you can make lemonade out of strikes.

Play:

Say: On the contrary, I do understand.

Play:

Say: The question is still illogical.

Play:

Say: Many times. Have you?

Play:

Say: That's also your problem.

Play:

Say: TDAMQ.

Play:

Say: Therefore I could not have "pissed" on your part.

Play:

Say: Where's Pudge when you say that? In the definition.

Play:

Say: "What do you say that? In the Bartok, the solo violin part is played on the same one that Rachmaninoff used for the evidence.

Play: