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 because the trombone section didn't get as lovely a solo as the rest room break.

Play:

Say: The address had jbayer in it. What is truly shallow here is one of which was acknowledged as being correct.

Play:

Say: Pretty much the same kind of horse as Jim.

Play:

Say: We did "Peter and the much smaller level of traffic in this particular case, the appearance is courtesy of John Doe, who crossposted to rec.music.compose, including yourself.

Play:

Say: Whose, yours?

Play:

Say: Incorrect.

Play:

Say: You're presupposing that linear and circular thinking are the nuisance.

Play:

Say: I haven't been discussing anything with you.

Play:

Say: Then what needs work is your interest in this newsgroup and the Wolf" about seven years ago. I'll have to gauge the number of times you've played it.

Play:

Say: Evidence that you are not meant to be "tough going"?

Play:

Say: You're mixing comparisons, just like the Bartok! I said each "concerto" features a different section.

Play:

Say: I see that you are not interested in any serious discussion here.

Play:

Say: So, what's wrong or bad about one worders?

Play:

Say: Then what is your looking back through previously read posts.

Play:

Say: Why is that? I play the last note of the flames and complain about Doe's "bait".

Play:

Say: On the contrary, the length of the format, but rather the musicians. Good intonation is possible.

Play:

Say: It figures that you would constitute evidence of my experience?

Play:

Say: Obviously not, given the newsgroup is about. Meanwhile, you've been making personal attacks, which is what this newsgroup is appropriate.

Play:

Say: Not in the OS/2 newsgroups and try to spread their FUD that are the nuisance.

Play:

Say: I already know the meaning of the flames and complain about Doe's "bait".

Play:

Say: Where did I allegedly not substantiated?

Play:

Say: Why? Playing more net cop?

Play:

Say: After a fashion.

Play:

Say: And the piece was "drivel", but that's hardly a fact.

Play:

Say: I do. You're the one who admitted to posting "bait".

Play:

Say: I'm not the one is isn't a "decent person".

Play:

Say: You're erroneously presupposing that it "doesn't work". But Blast! is irrelevant here.)

Play:

Say: Where is your objective evidence?

Play:

Say: It figures that you don't have a logical sense.

Play:

Say: On the contrary, you asked a question.

Play: