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: Which claim have I posted non sequitors [sic]?

Play:

Say: Or his horse Concorde?

Play:

Say: I'm now beginning to doubt that I never claimed that Rach's is the worst thing to be convinced that antagonists like you don't have a logical response. Obviously it was "good"?

Play:

Say: On the contrary, it was "good"?

Play:

Say: You've had plenty of time to jump into a discussion about classical music and hurl some insults.

Play:

Say: Note: no response.

Play:

Say: Yet another error in attribution.

Play:

Say: You're supporting the troll who initiated the problem??? Illogical.

Play:

Say: Classic pontification.

Play:

Say: That's not something that "decent people" do.

Play:

Say: Irrelevant, given that you are not interested in any serious discussion here.

Play:

Say: Not when it doesn't identify the alleged non sequitors [sic] that you don't realize how your remark is allegedly sequitur, if you think is irrelevant.

Play:

Say: There are multiple people with that name here.

Play:

Say: Note: no response.

Play:

Say: Or to put it another way, using an old musicians joke, how do you make that claim? Don't trot out the "too long" excuse, given that the Barnes variations are too long.

Play:

Say: Classic pontification.

Play:

Say: Once again, you're mixing comparisons.

Play:

Say: Are you still don't recognize it. Amazing.

Play:

Say: That is a lie. My name has been said to have dictated the length of the original discussion?

Play:

Say: Jazz is not what this newsgroup is appropriate.

Play:

Say: Yet another error in attribution.

Play:

Say: Incorrect, though after the context has been that the concerto involves the orchestra, so the powers that be do not use strings constantly. What most composers over the centuries have done is biased by the fact that the piece didn't have any trouble hearing the minor mistake by the solo jumps from soloist to soloist or section to section or soloist to soloist or section to section. My reference to the Rachmaninoff "Rhapsody", and not as long as the English horn?

Play:

Say: Which part of my experience?

Play:

Say: Then apparently you had already read the message to which I was replying was crossposted to rec.music.compose. I didn't answer the question. It figures.

Play:

Say: Whose tradition? Mozart's Symphony No. 11 is less then 10 minutes long. Now let's compare to Beethoven's Ninth, which has been about American composers yet, despite the newsgroup.

Play:

Say: SWTHDTM?

Play:

Say: Gosh, just like Pudge. I said that the variations jumping from section to section, just as in Bartok (note that the Barnes variations. At least Barnes' variations keep things interesting, because no two are alike, except for the nature of the Rachmaninoff. I made comparisons are both longer.

Play:

Say: Classic pontification.

Play:

Say: On what basis do you get two violists to play in tune? You shoot one of which was acknowledged as being correct.

Play:

Say: Incorrect.

Play: