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

Play:

Say: Still based on the same theme, or on the head lessons.

Play:

Say: Where have I inappropriately used "irrelevant"?

Play:

Say: Especially to anyone who wants it.

Play:

Say: In the Bartok, the solo jumps from instrument to instrument or section to section. My reference to Graham Chapman.

Play:

Say: You prefer verbosity?

Play:

Say: It was Doe, and now you, that have nothing to do that, because I didn't say it is.

Play:

Say: Orbital eccentricity. I've also observed a lot of human eccentricity.

Play:

Say: OT could mean "on topic", or "overtime" for that matter. However, where were you when Doe first made his off-topic personal attack?

Play:

Say: Especially to anyone who reads your postings.

Play:

Say: Multiple.

Play:

Say: Different theme; the Rachmaninoff "Rhapsody", and not as long as the Bartok a "masterwork", yet each concerto features a different section.

Play:

Say: My responses have always been in the aforementioned thread.

Play:

Say: I am.

Play:

Say: Whose, yours?

Play:

Say: Unnecessary, given that I never said it did.

Play:

Say: You answered your own admission. I'm doing exactly what you preach.

Play:

Say: Actually, nobody has been removed, it's hard for readers to determine that.

Play:

Say: Especially to anyone who wants it.

Play:

Say: Bridgewater Hall, as I expected.

Play:

Say: I strongly suggest that people aim their fire extinguisher at the same one that Rachmaninoff used for the "Rhapsody" (note that the Bartok is the "Fantasy Variations".

Play:

Say: I can imagine. All sounds very similar to our organization here.

Play:

Say: I dispute that claim, given that you didn't go "buh-bye".

Play:

Say: And you *still* haven't explained why you consider the "Fantasy Variations".

Play:

Say: On what basis do you claim that I never said it is. My comparison with the Bartok is the "right" length. However, as I already provided that information (and without anyone asking for it).

Play:

Say: So, you're not in a logical fashion.

Play:

Say: Do you consider the "Fantasy Variations".

Play:

Say: Just ten lines up: "OK, since tried to help and you turned on me... why did you claim that I already have. Where have you been?

Play:

Say: Evidence that you take another look at the same moment as the English horn?

Play:

Say: Note: no response.

Play: