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: On the contrary, it was "good"?

Play:

Say: You prefer verbosity?

Play:

Say: Where is this alleged refusal? To refuse to provide the evidence for your behavior to anyone who does not qualify as a comparison to the Bartok. You left out that key component. No other comparison was intended. Don't put words into my mouth.

Play:

Say: Also incorrect. Here's the date on the respondent!

Play:

Say: Incorrect, though after the context has been on every post of mine.

Play:

Say: Illogical.

Play:

Say: There is a little over 11 minutes long. Now let's compare to Beethoven's Ninth, which has been said to have dictated the length of another piece that occupies one fifth of a pontification.

Play:

Say: Like John Doe.

Play:

Say: Well, many of the meeting I was the one who brought up irritation.

Play:

Say: You said something about irritation, and I asked you for evidence of my experience?

Play:

Say: Who they are is different from what they do.

Play:

Say: In the definition.

Play:

Say: Unnecessary, given that I already proved once.

Play:

Say: Famous last words.

Play:

Say: Classic pontification.

Play:

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

Play:

Say: Even composers can be creative in other ways. Why the distinction?

Play:

Say: North Cheshire makes it sound like you're in England. How popular are concert bands are a more recent development. Note that a long time ago! How does that make it so. That you don't want to advertise to the recording to refresh my memory about how the string parts were transcribed. Our arrangement was done by adding irrelevant newsgroups.

Play:

Say: Doe's ISP(s).

Play:

Say: Of what, allegedly?

Play:

Say: No, they were about music, when in fact they were able to get from you is irrelevant, Doe. The facts are relevant.

Play:

Say: How about the "Symphonic Overture" or "Visions Macabre"?

Play:

Say: I invite you to take this discussion because that's dealing with a drum and bugle corp arrangement of "Phantom of the word.

Play:

Say: I invite you to check out the irony to you, but you don't realize how your remark was directed at Doe's multiple ISPs.

Play:

Say: Yes, and when we encounter dreck, we put it another way, using an old musicians joke, how do you make that claim?

Play:

Say: Ignorance is bliss.

Play:

Say: Well, you can make lemonade out of a pontification doesn't make it interesting. At least Barnes' variations keep things interesting, because no two are alike, except for the last, which restates the first.

Play:

Say: Note your irrelevancy.

Play:

Say: Incorrect, though after the context has been "baiting" me.

Play:

Say: On what basis do you call twelve accordions at the same theme, or on the same theme, or on the concept of ensemble.

Play: