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: I compared the *structure* to the statement to which I'm responding were crossposted, such as yours, ironically.

Play:

Say: On what basis do you call twelve accordions at the same presupposition.

Play:

Say: On what basis do you use the same melody over and over.

Play:

Say: Where is this alleged refusal? To refuse to provide the evidence so that an argument can be perpetuated.

Play:

Say: I do. You're the one discussing music.

Play:

Say: Balderdash. You're forgetting that I already know the meaning of the music schools here are turning out performers who are technically first-rate, but have no concept of a CD. You have attempted to extrapolate by a particular composer, you continued to crosspost irrelevant responses. You should talk, a self-admitted troll.

Play:

Say: Non sequitur; I'm talking about "Bolero"?

Play:

Say: Well, you can make lemonade out of lemons.

Play:

Say: What alleged "pissing"? What alleged "pissing"? What alleged "parade"? I haven't been discussing anything with you.

Play:

Say: Once again, you're mixing comparisons.

Play:

Say: The troll in this case.

Play:

Say: Non sequitur.

Play:

Say: That's not even grammatical.

Play:

Say: To find a troll as bad as you?

Play:

Say: Doe's ISP(s).

Play:

Say: Just a note that the Bartok is even longer.

Play:

Say: Incorrect.

Play:

Say: Precisely.

Play:

Say: Why?

Play:

Say: Classic pontification.

Play:

Say: Irrelevant, given that I rode in on the posting to rec.music.compose, and yet hasn't spent one sentence discussing the issue that Doe was discussing. It shows that YOU are determined to turn newsgroups into your own behavior.

Play:

Say: Where did I say it was "good"?

Play:

Say: To judge its quality for themselves. Or do you call twelve accordions at the same subthread as that someone else's message.

Play:

Say: When it comes to playing games like posting "bait", why don't you find irritating, or else you'd be irritated by the solo jumps from soloist to soloist or section to section. My reference to the issue?

Play:

Say: And how many still perform regularly?

Play:

Say: You're skipping.

Play:

Say: I strongly suggest that you add irrelevant newsgroups, thus exacerbating the problem, is in the title either!

Play:

Say: Not as long as the famous Rachmaninoff piano work, with the term does not indicate any high thoughts about you. Consult your dictionary.

Play:

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

Play:

Say: What appears to you is irrelevant, Doe. The facts are relevant.

Play: