The Troll Variations
for a soloist
by
Tom Duff
Reload for a new version!

Instructions

This piece is for a soloist playing any instrument.

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.

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: But you don't have a problem with what you're talking about.

Play:


Say: And how many still perform regularly?

Play:


Say: Why should I? I haven't suggested that everyone here listen.

Play:




Say: But they do need to clear fluid from their typewriter, but repetitive stress syndrome is now recognized as a concerto for the main cultural event, the organizers of the movement at the first line above, it looks like it's about Barnes' "Fantasy Variations on a Theme by Niccolo Paganini".

Play:










Say: More like getting hit on the wrong person. Interesting that you add irrelevant newsgroups, thus exacerbating the problem, is in your posting.

Play:




Say: Especially to anyone who wants it.

Play:


Say: On what basis do you really expect everyone to simply trust your questionable judgment?

Play:




Say: Like John Doe.

Play:


Say: Go right ahead. But I bet you won't, otherwise you might find yourself out of lemons.

Play:




Say: Multiple.

Play:


Say: On what basis do you make that claim?

Play:


Say: On the contrary, it is "stupid".

Play:


Say: But my quotation was in the comparison is not what this newsgroup and the Wolf" about seven years ago. I'll have to listen to the recording to refresh my memory about how the variation jumps from soloist to soloist or section to section. My reference to Graham Chapman.

Play:






Say: You were ambiguous there: which is not too long.

Play:


Say: Why do you make that claim?

Play:


Say: Figures.

Play:


Say: Variation? Are you aware of any substantiation from you.

Play:


Say: Yes.

Play:


Say: Evidence that you would constitute evidence of my argument is allegedly clear about someone who uses two different names?

Play:






Say: You're welcome.

Play:


Say: Okay, Professor Plum, Bill, Jim, and you.

Play:


Say: I compared the *structure* to the recording to refresh my memory about how the string section. Do you consider to be convinced.

Play:




Say: On the contrary, you asked to be "classical music", but also that others might not consider it to be interesting. A live orchestra performance does not guarantee that the messages to which I'm replying: Date: Sun, 08 Jul 2001 18:06:14 -0400 Date: Sun, 08 Jul 2001 18:07:26 -0400 All later. Obviously you didn't recognize it as a non-rhetorical question.

Play:
















Say: I suggest you listen to the rec.music.classical type.

Play:


Say: What seems to you is pontification. It's like watching Siskel and Ebert saying it's a bad movie and then wants to lay the blame on the same subthread.

Play:






Say: Do you instantly go into "dislike mode" whenever an orchestra from Liverpool. Nice concert hall in Manchester.

Play:




Say: Note: no response.

Play:


Say: Where have you been?

Play:


Say: What for you would run away without answering the question.

Play:


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

Play: