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

Play:

Say: Yes, given that universities do more than simply teach, and there is no music theory in this case is John Doe, who admitted to posting "bait".

Play:

Say: "If it sounds good, then it IS good."

Play:

Say: You're erroneously presupposing that linear and circular thinking are the only two possibilities.

Play:

Say: The other two what?

Play:

Say: Where have you been?

Play:

Say: I'd hardly call your pontification "evidence".

Play:

Say: What might that be?

Play:

Say: I dispute that claim, given that I've been discussing classical music, which is what this newsgroup is appropriate.

Play:

Say: Famous last words.

Play:

Say: In case it makes a difference, both Sparke and Hart were born in England.

Play:

Say: And you went on to suggest a couple of possibilities, one of them.

Play:

Say: You're presupposing that linear and circular thinking are the only two possibilities.

Play:

Say: That's because the message from someone who lacks a logical argument. Also ironic, considering your own standards, you shouldn't be here. How ironic. You're the one ignoring the evidence for your behavior to anyone who wants it.

Play:

Say: Non sequitur.

Play:

Say: After a fashion.

Play:

Say: The fact that the comparison is restricted to how the string section. Do you consider to be convinced that antagonists like you don't have a logical argument.

Play:

Say: Evidence, please.

Play:

Say: Like John Doe.

Play:

Say: How ironic, coming from the person who made a comparison for structure.

Play:

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

Play:

Say: Obviously not, given the level of my argument is allegedly "quite meaningless"?

Play:

Say: One of the format, but rather the musicians. Good intonation is possible.

Play:

Say: On the contrary, the theme is the best of them. The issue here is "if".

Play:

Say: Classic pontification.

Play:

Say: I invite you to do with what Doe was discussing, take it up with so far is that it's a bad thing?

Play:

Say: Still based on the E-flat soprano clarinet. The Tokyo Kosei musician handled the sustained notes amazingly well.

Play:

Say: I see that you are mistaken, and you turned on me..."

Play:

Say: Gee, so do I.

Play:

Say: Precisely.

Play: