The doors break on through ноты

Break On Through (The Doors)

Ноты к композиции “Break On Through”

в 1970-е годы известной группы “The Doors”

You know the day destroys the night
Night divides the day
Tried to run
Tried to hide
Break on through to the other side
Break on through to the other side
Break on through to the other side, yeah
We chased our pleasures here
Dug our treasures there
But can you still recall
The time we cried
Break on through to the other side
Break on through to the other side
Yeah!
C’mon, yeah
Everybody loves my baby
Everybody loves my baby
She get
She get
She get
She get high
I found an island in your arms
Country in your eyes
Arms that chain us
Eyes that lie
Break on through to the other side
Break on through to the other side
Break on through, oww!
Oh, yeah!
Made the scene
Week to week
Day to day
Hour to hour
The gate is straight
Deep and wide
Break on through to the other side
Break on through to the other side
Break on through X4
Yeah, yeah, yeah, yeah
Yeah, yeah, yeah, yeah, yeah

Источник

The doors break on through ноты

:((\n\n\n[b]BONUS[/b] [b]QUESTIONS:[/b]\n\n[b]Do[/b] [b]you[/b] [b]have[/b] [b]something[/b] [b]to[/b] [b]add[/b] [b]that[/b] [b]we[/b] [b]forgot[/b] [b]to[/b] [b]ask?[/b]\n\nNah this is already sooo long xD\n\n[b]Think[/b] [b]of[/b] [b]a[/b] [b]question[/b] [b]-[/b] [b]absolutely[/b] [b]any![/b] [b]-[/b] [b]which[/b] [b]we[/b] [b]will[/b] [b]ask[/b] [b]the[/b] [b]next[/b] [b]winner[/b] [b]of[/b] [b]the[/b] [b]MuseScorer[/b] [b]of[/b] [b]the[/b] [b]month.[/b]\n\nHow many pieces of blank A4 paper are you willing to eat before you’d rather delete your musescore account than eat the paper?\n\n\n\n\n\n“She is amazing at writing music of all types, her epic piano solos are spectacularly written. I particularly love the piece, Diamond storm, the variations are wonderful, and it is such a nice melody! \nlink here! [url=https://musescore.com/rebeccayang/diamond-storm)]https://musescore.com/rebeccayang/diamond-storm [/url]”\n\n\n“Rebecca makes exceptional music and uses that music to help improve mental health and overall wellness. She writes amazing piano solos and is a huge member of the community.” «,»likes_count»:40>,<"id":5102218,"user_id_created":30386853,"user":<"id":30386853,"name":"FEAR.","url":"https://musescore.com/fear","image":"https://musescore.com/static/musescore/userdata/avatar/8/f/7/30386853.jpg@150x150?cache=1621198290","is_pro":true,"is_staff":false,"is_moderator":false,"cover_url":"https://musescore.com/static/musescore/userdata/cover/7/6/d/30386853.jpg?cache=1619811281","date_created":1542999470,"_links":<"self":<"href":"https://musescore.com/fear">>>,»date_created»:1621653250,»date_relativity»:»5 days ago»,»posts_count»:86,»last_post»:<"id":5520911,"date_created":1622046625,"user_id":37813983,"date_relativity":"a day ago","body":"@FEAR.

Good reactions so far»,»user»:<"id":37813983,"name":"angery ramen man","url":"https://musescore.com/user/37813983","image":"https://musescore.com/static/musescore/userdata/avatar/d/d/3/37813983.jpg@150x150?cache=1619041075","is_pro":true,"is_staff":false,"is_moderator":false,"cover_url":"https://musescore.com/static/musescore/userdata/cover/7/9/0/37813983.jpg?cache=0","date_created":1615401734,"_links":<"self":<"href":"https://musescore.com/user/37813983">>>>,»title»:»Cinderella but checkmate, transphobes»,»url»:»https://musescore.com/groups/fear-s-writing/discuss/5102218″,»body»:» \n“You are absolutely [i]NOT [/i]leaving the house looking like that!!”\n“Mom [i]please [/i]please I want to go please just let me-”\n“ABSOLUTELY NOT!!”\n“You’re letting THEM go!”\n“THEY AREN’T DRESSED LIKE- THAT!”\n“But they ARE!!” \n“YOU KNOW WHAT I MEANT!!”\n“Mom [i]please [/i]just let me go I want to go- please just-”\n“NO absolutely not. GO to your room. Take off that RIDICULOUS dress and makeup.”\n“Mom PLEASE-”\n“NOW!!”\n“FINE!”\nShe goes to her room, slamming the door and struggling out of the dress. She takes off her shoes- high heels she had to have custom made and cost a few week’s pay. She takes them off and looks around her room, then stashes them in the shoebox for some regular sneakers. As soon as she’s gotten back into her regular clothes her mother barges in and starts going through her closet, pulling the dress off of the hanger, then throwing it to the floor. She goes through the rest of the girl’s clothes, throwing most of it into the pile, then picking up the pile and leaving.\n“What are you doing-”\nShe rushes after her mother, who’s taken the clothes to the kitchen. She yanks a pair of scissors out of the drawer and starts working on mutilating the dress.\n“MOM NO PLEASE STOP NO NO- DON’T- PLEASE-”\nShe throws the pieces of the dress to the ground and starts working on destroying the rest of the clothes.\n“MOM NO STOP PLEASE I BOUGHT THAT- I HAD TO PAY FOR THAT PLEASE-”\n“Eli SHUT UP!!”\n“THAT’S NOT MY NAME!!”\n“If you EVER leave this house again I swear to GOD DO YOU KNOW WHAT WILL HAPPEN TO YOU?”\n“I HATE YOU!!”\nShe whirls around and slaps her daughter in the face.\n“IF I SEE YOUR FACE FOR THE REST OF THE NIGHT I SWEAR TO GOD I WILL KILL YOU-”\n“. ”\n“Eli go to your room.”\n“My name is ELLA!!”\n“ROOM!!”\nShe goes to her room and locks the door. She then just goes and lays on her bed.\nAfter a while she hears tapping on the window. She looks up. A crow is sitting on the bird feeder next to her window, looking rather angry that it’s empty. \n“Hey dude,” she says, opening the window.\nHe cocks his head, looking at her. \n“Dude, my mom SUCKS.”\nThe bird just watches her.\n“NOW how am I supposed to go? She let my sisters go.”\nThe bird drops something onto the windowsill. It’s a sparkly hairpin.\n“Thanks dude.”\nShe puts it in her hair and gives the bird a smile.\n“Hey, you don’t think you could help me, could you?” she says.\nThe bird just stares at her.\n“I need a dress.”\nShe pulls out a slice of bread. “You can help me, you’re a smart boy.”\nThe bird hops to the ground, and Ella grabs her shoes and slides out the window to follow. She follows the bird, checking her wallet.\n“Dude I don’t have that much money…” she says. \nShe drops a bill on the ground accidentally, and the bird picks it up. \n“Oh- thanks.”\nShe takes it from him and gives him a small piece of bread that she apparently keeps in her purse. The bird flies away, and she starts walking downtown.\nShe sits outside of a store selling dresses, a bit depressed looking at the inside. Her dress is ruined and she certainly can’t afford another in time to go to the dance. \n“Oh well… it’s not like I had a date anyway…”\nShe sighs. A bird hops up to her feet- the crow is back, holding a 20$ bill in his beak.\n“Oh- oh thanks.”\nShe takes it from him, and another crow hops right up to them, dropping a 10$ bill at her side.\n“Oh-”\nAnother crow hops up, holding a wadded bill. Several crows follow, dropping the bills at her feet. She scoops them all up in her hands while the rest of the murder arrives, dropping the money. She picks the money up and rushes into the store. One of the birds follows her while she selects a dress and buys it, then quickly ducks into a changing room to put it on, and puts on her high heels. She puts in the hairpin her crow brought her, checks her makeup in the mirror- the lipstick is slightly smeared but she can fix that- and then she leaves.\nShe arrives at her school and opens the doors, going to find where their senior prom is being held. She eventually finds it and goes to join the party, but just gets a drink and then sits by herself in a corner of the room, watching everyone else. After some time someone sits next to her- a boy with curly black hair.\n“Hi.”\n“Uh, hi-”\n“My girlfriend broke up with me yesterday,” he says. “Already has another guy.”\n“Ouch…”\n“Can you hang out with me? I just feel bad watching her already have another date and I don’t. You wouldn’t mind pretending for me?”\n“Uh-”\n“I just want to stay near a girl for now so if she sees me she’ll see I already got another date.”\n“. Sure but I don’t think I’m the-”\n“Nah, you’re really cute. What’s your name?”\n“. Ella…”\n“I don’t think I recognize you!”\n“. Maybe not…”\n“Okay! I’m Adonis.”\n“Hi…”\nHe stands up and extends a hand.\n“Dance?”\n“Uh-”\nHe pulls her to her feet.\n“Oh my god.”\n“What-”\n“How TALL are you??”\n“Uh- 6’4”,” she mutters in shame.\n“Damnnn girl.”\n“H-huh?”\n“Do you play basketball?”\n“No.”\n“You SHOULD. I do. I’m not that good at it, I’m only 5’7”.”\n“Huh-”\nHe leads her out to dance with him. \n[i]Why did I even come, [/i]she thinks. [i]This is so awkward.[/i]\nHe seems perfectly happy to dance with her, and she just tries to keep up. She sees a crow sitting at a table, happily chowing down on some snacks he’s stolen. He just cocks his head and looks at her. She turns back to Adonis and keeps awkwardly dancing with him.\nThe two sit in the corner of the room some hours later. Adonis has her lipstick all over his face and Ella is sitting awkwardly in his lap, trying to tuck her legs in. She’s taken off her shoes, as wearing high heels for such a long time has started to hurt. \n“I should get hoommmmeeee,” she says.\n“Nooo- okay do you have a curfew?”\n“Yeah, kinda…? I just have to get home at some point-”\nHe leans down and messily kisses her again.\n“Nah, come on, my parents are out of town, just come over to my place for a biiiiit?”\nHe grins and she slowly starts to panic.\n“. No-”\n“Aw, please? I had such a great night with you-”\n“Yeah yeah I should get home-”\nShe starts getting her things.\n“Awww. alright though, see you another time?”\n“Uh- maybe- I don’t know wasn’t it just for tonight-”\n“Yeah but I actually like you a lot! I’d love to get to know you better-”\n“I [i]really [/i]have to get going sorry-” \nShe shoves her shoes into her purse haphazardly and rushes out the door, dropping one of them on the floor and being too panicked to notice. She starts walking home in the dark. Her crow follows her.\n“Yeah, yeah, I know, I look a mess.”\nIt just looks at her.\n“I COULDN’T go home with him!” she says. “He’d, realize-”\nShe looks down at her crow. “He’d realize I’m trans and dump me-”\nThe crow just keeps looking at her.\n“Dude, you KNOW that would be bad.”\nShe sneaks into her driveway and climbs into her bedroom window. She starts cleaning off her face, and takes off her dress.\n“. Oh my god, my [i]shoe…” [/i]she says.\nShe takes the one she still has out of her purse.\n“Oh my god I paid so much for these. They’re custom made! It’s a men’s size 14. That doesn’t even EXIST in women’s. I had to get it custom made.”\nShe looks at the crow, who’s sitting on the windowsill. She gets into her pajamas and then climbs into bed to sleep.\nShe wakes up in the morning and goes downstairs to get breakfast. Her sisters aren’t awake yet, but her mother is. She just ignores her mother and gets herself something to eat. She then just goes to her room with her laptop and starts playing video games with her headphones on.\nThe doorbell rings. One of her sisters opens the door. It’s Adonis, looking exhausted.\n“Hi? Do you have any sisters?” \n“. Yes? Why?”\nHe holds up her missing shoe. “My prom date left this with me, I’ve been all over the city looking for her. I don’t know where she lives.”\n“What’s her name?”\n“Ella. We just hooked up there.”\nHe holds up the shoe again. \n“She was real tall, had real big feet.”\n“. yeah okay-”\nThe second sister has come down. They’re both openmouthedly staring at Adonis. \n“Do you have any other sisters?”\n“Nope! A brother,” one of them says.\n“NO THEY HAVE A SISTER-” Ella shouts from upstairs, trying to drown out her sisters and rushing downstairs.\nShe runs downstairs and takes the shoe.\n“Hi it’s me [i]please [/i]leave now okay bye- have a nice dayyy-” Ella says, trying to slam the door in his face. He prevents her from doing so.\n“Why are you so [i]resistant??”[/i]\nHer mother’s arrived and Ella panics, trying to shut the door.\n“Eli WHAT on earth are you shouting about??”\n“NOTHING-”\nShe tries to shut the door again but Adonis shoves it back open.\n“I WANT to talk to you!!”\n“Please please-”\n“Eli what are you doing-”\n“Ella what’s happening-”\n“DO you want to say something to my son?” she says.\n“Your son?? I came to see my GIRLFRIEND!!”\n“Eli I SWEAR TO GOD- you have a BOYFRIEND??”\n“Yes please just let me talk to my girlfriend-” Adonis says.\n“Girlfriend??” one of the sisters says.\nThe other one yanks up Ella’s shirt and she shrieks, rushing to cover herself again, but the damage has been done and Adonis has seen her perfectly flat chest.\n“. Oh,” Adonis says.\nElla’s mother slaps her across the face, and Ella moves away, cringing. Her crow [i]immediately [/i]dives into the house and attacks her mother, cawing loudly. Adonis grabs Ella’s hand and rushes outside to his car, shoving Ella into the backseat and then driving away. The crow quickly flies to follow, and Ella rolls a window down to let it in.\n“Where are we going?” she says awkwardly.\n“My house.”\n“Okay…”\n“. So!”\n“. yeah we should address that-” Ella mutters.\n“You’re, trans?”\n“Yeah.”\n“And your mom doesn’t like it.”\n“Nope.”\n“Sucks.”\n“Yeah it does suck.”\n“Yo what’s with the bird-”\n“Oh, if you feed crows they tend to like you.”\n“Cool.”\n“. Yeah- so if you’re gonna dump me just do it.”\nHe pulls up to his house and helps her out of the car. He brings her inside.\n“My parents get home later and wanted to meet you.”\n“Okay…”\n“You okay?”\n“Kinda…”\n“So you’re like a crow princess?”\n“. Kinda-”\n“Alright! That’s awesome.”\n“Just dump me already dude-”\n“Oh shush. I’m not going to dump you, okay??”\n“. Okay-”\n“Now chill out. We’ll figure stuff out with your mom. You can stay here for now, okay? There’s a guest room upstairs.”\n“Wait what-”\nThe door opens and his parents walk in. Adonis springs to his feet.\n“MOM, DAD, this is Ella!!”\n“Hi!” \nHis mom walks up to Ella. “He told us about you already!”\n“. Did he-”\n“Yeah!”\n“So uh, her mom just kicked her out,” Adonis says.\n“Why?” \n“Oh she’s trans. So she needs a place to stay for now!”\n“Alright! She can have the guest room for now while we figure something out.”\n“. Really?”\n“Yeah, for now,” his mom says.\n“Thanks- thanks so much-”\n“Here, come on, let me help you set up in the guest room!”\nHe takes her by the hand and rushes upstairs.»,»likes_count»:6>,<"id":5102351,"user_id_created":30386853,"user":<"id":30386853,"name":"FEAR.","url":"https://musescore.com/fear","image":"https://musescore.com/static/musescore/userdata/avatar/8/f/7/30386853.jpg@150x150?cache=1621198290","is_pro":true,"is_staff":false,"is_moderator":false,"cover_url":"https://musescore.com/static/musescore/userdata/cover/7/6/d/30386853.jpg?cache=1619811281","date_created":1542999470,"_links":<"self":<"href":"https://musescore.com/fear">>>,»date_created»:1621803707,»date_relativity»:»3 days ago»,»posts_count»:18,»last_post»:<"id":5518362,"date_created":1621865916,"user_id":30386853,"date_relativity":"3 days ago","body":"@Gloomy Moon :D","user":<"id":30386853,"name":"FEAR.","url":"https://musescore.com/fear","image":"https://musescore.com/static/musescore/userdata/avatar/8/f/7/30386853.jpg@150x150?cache=1621198290","is_pro":true,"is_staff":false,"is_moderator":false,"cover_url":"https://musescore.com/static/musescore/userdata/cover/7/6/d/30386853.jpg?cache=1619811281","date_created":1542999470,"_links":<"self":<"href":"https://musescore.com/fear">>>>,»title»:»Meet Inkwell»,»url»:»https://musescore.com/groups/fear-s-writing/discuss/5102351″,»body»:»*stitching this together from feverish ramblings i did all out of order-*\n\n \nHastings picks up a needle off the ground, squinting at it. It has some sort of black liquid clinging to the inside. He shakes it a bit and a drop of the liquid falls, making a tiny stain on the concrete. He looks at the warehouse. A typical druggist’s hideout. He sighs, puts it in a bag to dispose of safely, and takes the keys the warehouse owner gave him. The owner had expressed worry about the man renting it being a bit shady about what he was using it for. Hastings opens the lock and pushes the doors open, hand on his belt.\nThere’s a loud hiss and Hastings draws his police baton in a panic. He then drops it.\nA girl sits in the corner, one arm wrapped around her legs, the other stretched out beside her. Her face tear-wrecked, hair long and matted, covering her face. He rushes to see her, but then—\nShe unfolds a giant pair of batlike wings. He stops in his tracks, and she looks up at him, shaking. Her mouth is full of stitches, keeping her mouth securely closed. He slowly walks up to her, palms outstretched.\n\»I— I won’t hurt you,\» he says. \»I’m here to help. \»\nShe just fixes him in a glare. Her eyes are beady black, with no whites. Hastings shivers in her relentless stare.\n\»Are you hurt?\»\nShe nods, pointing to her lips, then flaps her wings a couple times. Upon a second look, they look shredded. She then shows him her arm. A needle is buried in her arm, and she’s slowly bleeding into it. He pulls it out and her blood wells up black on her arm.\n\»Okay— we’re going to take you to a doctor, okay?\»\nShe nods miserably and he slowly reaches to pick her up. She just lets him, too tired to fight.\n\»Okay, it— it’ll be a bit of a drive there but— okay are you in pain?\»\nShe nods.\n\»Okay, okay. Uuuh. do you have parents??\»\nShe shakes her head.\n\»Okay.\»\nHe carries her to his car and buckles her in the passenger seat.\n\»Can you breathe okay?\»\nShe nods.\n\»I’ll help you. \»\nHe starts the car.\n———————————\nThe frail girl lays back in the hospital bed, shivering and holding the blanket up over her mouth, eyes wide and sparkling with tears. \n\»It’s okay, don’t. don’t worry too much. \» Hastings says, feeling a bit iffy at lying outright to the small girl. She whimpers.\n\»Here, hold my hand?\» he says. \»I guess. \»\nHe holds out his hand. She stares at it apprehensively.\n\»Okay, listen. They have to get those stitches out of your mouth. This isn’t fun for anyone, but you have to let them do it, okay?\»\nShe blinks.\n\»Okay, if you understand me, blink twice.\»\nShe quickly complies. \n\»Do you want those stitches out of your mouth?\»\nShe nods vigorously. \n\»That’s what they’re here to do.\»\nShe points at her IV frantically.\n\»I know it hurt, but that’s just to make sure you feel better. Okay?\»\nShe nods, then gestures to her wings.\n\»After we fix those stitches in your mouth, they’ll be able to fix your wings. Want to hold my hand?\»\nShe takes his hand slowly. \n\»Alright, there you go, now take the blanket down. \»\nShe does, shaking, and he gives her hand what he thinks is a reassuring squeeze. The girl panics and yanks her hand away, eyes flashing. \n\»Okay— okay, I won’t squeeze. That too tight?\»\nShe nods. \n\»Alright.\»\nHe offers her his hand again and she takes it more reluctantly this time. \n\»Okay. Now just lay there and they’re gonna get those stitches out.\»\nShe nods and shuts her eyes tightly.\n—————————————\n \nHastings watches the frail girl fidget with her tail, sniffling. He’s trying not to overtly stare, but then again, he’s never seen someone like her.\nShe has wings— huge batlike wings, delicately stitched up while they heal— and a pointed black tail. She has tiny horns, but otherwise looks like a normal little girl. She hasn’t said anything since he’d found her, starving and injured. \nShe’s still crying to herself. He just awkwardly watches.\n\»Err. are you, okay?\»\nShe wraps herself in her wings, which he takes as a signal she doesn’t want to talk to him. \n\»Do you have any parents I can call?\» he says for what must be the hundredth time.\nShe doesn’t answer.\n\». Do you want anything? Are you hungry? Sleepy?\»\nShe’s silent and Hastings awkwardly nods. \»I’ll just, leave you alone then.\»\nHe gets up and leaves, googling \»orphanages\» on his phone. \n————————————-\nHe comes back some time later to check on her. She’s still just laying in bed on her side.\n\»Listen Miss, I’m from the police, okay? I’m here to help.\»\nShe looks up at him. He startles— her eyes are beady black, and don’t even appear to have a white part.\n\»Do you have any parents I can call?\»\nShe shakes her head.\n\»Okay, good girl. Are you from an orphanage?\»\nShe shakes her head again.\n\n\»Do you have a home at all?\»\nShe just looks at him.\n\»Okay. Do you have any belongings?\»\nShe shakes her head.\n\»That’s what I thought. So here—\»\nHe picks up a folded blanket he’s set on the chair next to him. \»I know it gets chilly here at night, so here you are.\»\nShe reaches out for it, and he instead unfolds it and gently tucks it over. It’s grey and slightly fuzzy. She snuggles into it, staring at him, like if she takes her eyes off of him he’ll attack.\n\»Is that better?\»\nShe nods quickly. \n\»Okay, now here you go-\»\nHe gives her a plushie— a small floppy squid.\n\»I went shopping a bit ago, and I, I found that, and I thought of you, ’cause you’re a weird little kid, and it’s a bit of a weird animal for a plushie, but I mean— eh I’m overthinking this. \»\nShe has already started snuggling with it, curling into her blankets.\n\»There you go. \»\nHe watches her until she falls asleep. He picks up his phone and calls the orphanage. \n———————————————————————————————————————————————\nHe visits her again the next day. She’s playing with her squid.\n\»Hey, tomorrow you’re gonna leave here! Isn’t that nice?\»\nShe looks up and nods.\n\»Yeahh, I know hospitals aren’t fun at all,\» he says. \»But it wasn’t that bad, was it?\»\nShe just looks up at him. \n\»But you’ll get somewhere to go, good news!\» he says. \»We found a safe place you can stay, and you’ll be warm and safe. Does that sound good?\»\nShe slowly nods. \n\»That’s the spirit! Here-\»\nHe gives her a cookie.\n\»I made these last night, I figured you’d want something better than hospital food. I know it’s not super good.\»\nShe slowly starts nibbling on it. \n\»There you go. Is that good? I’m not the best at cooking. \»\nShe nods and swallows.\n\»Thank you-\» she whispers.\n\»You can talk??\»\nShe nods and goes back to eating.\n\»What’s your name?\»\n\»Inkwell. Inky, sometimes.\»\n\»I’m Hastings.\»\nShe isn’t interested in talking anymore. He watches her eat silently. He pulls out the paperwork from the orphanage to start working on it.\n——————————————————-\n\»Hey, uh, Inkwell?\»\nShe just looks up at him.\n\»I’m gonna take you to your new home, alright?\»\nHe watches while the doctors prepare her to leave. When they pull out her IV, her blood wells up black. She winces, and watches while they put a bandage on it.\n\»Alright, come on and follow me,\» Hastings says.\nHe takes her to his car, and she just sits in the back, leaning her head on the window.\n——————————————————————————————————————————————\nHe parks the car. She’s fallen asleep in the back, so he picks her up with some struggling. She wakes up immediately.\n\»Huh??\»\n\»Oh- oh sorry. anyway!\»\nHe puts her down and leads her inside.\n\»It’s really not that great, it’s, kinda small, but I hope you like it!\»\nShe looks around. \»Where are we?\»\n\»Well uh, this is my apartment. I hope you’ll like it here, I think it’s nice, it’s a bit small though-\»\nShe silently carries her blanket to the couch and sits down, cuddling underneath it. He sighs and smiles, then goes to the kitchen. He comes back a minute later with a cup of tea.\n\»Here, here this is for you-\»\nShe takes it.\n\»Yeah, let it cool for a minute. It’s to drink, it’s good.\»\nShe takes a swig anyway, not seeming to care about the temperature. He watches her.\n\»I really hope you’ll like it here. I’ll keep you safe, okay?\»\nShe nods. \n\»Thank you—\»\nHe smiles and sits next to her.\n\»I think we’ll get along, don’t you?\»\nShe nods slowly. He sighs.\n\»You can have my brother’s old room. He left to go to school. Here, follow me-\»\nHe takes her to a plain bedroom, with brown curtains, a fuzzy rug the same color, and an empty dresser. She puts her blanket and plushie on the bed.\n\»What do you think?\»\nShe silently hugs Hastings’ legs, then goes to climb into the bed, hiding herself in her blanket. He leaves her to adjust, going to the kitchen to make two microwaved dinners.\n———\n**am writing inkwell’s first day there right now**\n—————————————————-\n \nHastings gets ready for work, Inkwell silently watching him. She’s curled her tail around her knees and is just crouching on the couch.\n\»I have to go to work, okay?\»\nShe doesn’t speak.\n\»Kid, do you. talk? At all?\»\n\»When I want to.\»\n\»That’s, good, I guess. Can we have a conversation?\»\nShe just stares at him, slowly blinking.\n\»Ooookay. I have to go to work.\»\nShe doesn’t respond.\n\»Okay?\»\nShe nods. \n\»Here- here’s the remote for the TV if you, want to watch anything,\» he says.\n\»I don’t know what that is.\»\n\»Oookay then! Well uh. I guess you could read? I don’t have any children’s books but you seem like a bright kid.\»\n\». I can’t read.\»\n\». Okay! What do you like, do for fun?\»\nShe just stares at him.\n\»Alrighty then! Here-\»\nHe pulls a manga off the shelf. \»This book has pictures. You. don’t [i]really[/i] need to read to enjoy it? Look see! Pictures.\»\nShe takes the book from him and just silently flips through it.\n\». Greaaat! And if you need anything to eat just look in the fridge, I already showed you how to get water, showed you how the bathroom works, anything else you need?\»\nShe shrugs slowly.\n\»I made you some toast for breakfast, it’s in the kitchen. you know where everything is?\»\nShe doesn’t respond.\n\»Can you [i]please[/i] talk to me—\»\n\»No.\»\n\»Okay, let’s come take your medicine and then I’ll go.\»\nHe goes to the kitchen, fills an oral syringe with some medicine, and beckons her to come. She just stays and stares at him. \n\»Come here, it’ll make it so it doesn’t hurt, okay? I know you’re probably in some pain.\»\nShe just blinks and he walks over to her. \n\»Open up, okay?\»\nShe opens her mouth and Hastings shivers. She has rows of fangs, and her tongue is forked. He gives her the medication and she just swallows it and stares at him.\n\»Alrighty then! I’ll see you in a few hours. Keep the door locked, be quiet, have a nice day!\»\nShe just blinks.\n\»Hey, it’ll be okay, I won’t hurt you. Ever. I promise.\»\nShe looks up at him. \n\»Don’t worry. I’ll be home soon. I won’t let anything happen to you.\»\nHe pats her on the head, then leaves, locking the door. \n——————————————————————————————\nInkwell wanders the house, clutching her squid plushie to her chest. She goes into Hastings’ room, instinctively searching for an escape route. There’s a picture on the dresser, of Hastings with a younger boy— [i]probably his brother,[/i] Inkwell thinks. She looks around. Hastings’ computer is on the desk, still open to a game he was playing. She doesn’t know what it is, and just leaves that alone as well. He has a couple posters on the wall, but she can’t read what’s on them. He has a single stuffed animal sitting on the bed. Inkwell picks it up. She can’t tell what animal it’s supposed to be, if it is one. She sets it down, and carries her squid out of the room, going back to her new room.\nThis one’s rather nondescript. The bed has plain white sheets, with a grey blanket. The pillowcase is a bit wrinkled from her sleeping on it. There are no decorations. She wonders if she’ll decorate it someday.\n[i]No, of course not, I can’t stay here. He’s just waiting. He’s waiting to hurt me. I know he will. [/i]\nShe leaves the room, clutching her squid. She goes to the kitchen and eats the toast left on the counter, quickly scarfing it down before someone takes it away. She then goes to her bedroom, picks up some clothes, then goes to the bathroom and takes off her pajamas, a white nightgown Hastings had bought her. She looks at the shower suspiciously, then goes to turn it on like Hastings told her. Her captor had always turned it on for her, and made her get out quickly. It was always cold. She didn’t like it cold.\nShe turns it on, then startles when it, rather noisily, starts working. She jumps, cramming herself into the corner before recognizing the sound as safe. She slowly sticks her hand in to test the temperature. It’s hot. She gets into the shower, and watches the water run off her body. She washes her hair, then gets out, gently patting her wings dry. She puts on her clothes— a black t-shirt and some overalls— and goes back into the main room of the apartment. \nShe lays on the couch, holding her squid. She flicks her tail back and forth until she falls asleep.\n———————————————————————————————————————————————————-\nShe wakes up that evening, stomach grumbling. She sits up, and goes to the fridge, looking for something to eat. She opens it, the cool air wafting out, making goosebumps raise on her skin. She picks out some food and goes to sit on top of the fridge, then opens it to eat right as Hastings comes back in.\n\»HEY- HEY DON’T EAT THAT, PUT THAT BACK!!\»\nInkwell looks at her package of raw ground beef, then starts shoveling it into her face.\n\»NO- NO NO NO DON’T EAT THAT, INKWELL PUT THAT DOWN RIGHT NOW-\»\nShe just panics and starts eating faster, scarfing down the entire package before Hastings manages to cross the room and pull her off the fridge. She struggles out of his arms and scrambles to hide in a cabinet. He looks entirely panicked.\n\»Oh my god oh my god- I-\»\nHe yanks out his phone. \»Oh my god what’s poison control— I’m supposed to know this number— Oh my god-\»\nInkwell licks the rest of the food off of her face. Hastings opens the cabinet.\n\»Inky, NO, don’t eat that, you could make yourself REALLY sick.\»\n\»It’s yummy. \»\n\»NO, no, you’ll get REALLY sick.\»\n\»Buuut. I never got sick before. \»\n\»What?\»\n\»I eat that all the time.\»\n\». \»\n\»It’s yummy.\»\n\»Inkwell, Jesus Christ. You scared me. I’m going to make dinner for myself, do you want some?\»\n\»Nnn. noodles?\»\n\»You want noodles?\»\nShe doesn’t respond.\n\»Hey. Do you want that?\»\nShe slowly nods.\n\»Okay. We can have noodles.\»\nInkwell starts cleaning up the remains of her meal. Hastings gags.\n\»That stuff tastes [i]good??\»[/i]\n\»Why do you have it if it doesn’t taste good-\»\n\»It’s, you have to cook it. Or, I guess I do. You’re not human, are you?\»\nShe shakes her head.\n\»Right. you’re never going to have to be hungry here.\»\n————————————————————\n \nInkwell finishes her dinner, scarfing it down maniacally fast.\n\»Why do you eat so fast??\»\n\»So nobody takes my food away.\»\nShe looks at him from behind her hair, long and tangled, matted in parts.\n\»Okay, next priority is getting you a haircut. Come on, we’re going to the car.\»\nShe follows him silently.\n\»Hey, do you know how you want your hair to look?\»\nHe sighs. \»You probably don’t, and they’re going to have to hack all that hair off anyway.\»\nHe takes her to get her hair cut.\n—————————————————-\nInkwell walks back to the car, her hair now barely brushing her shoulders. As soon as they’d cleaned, brushed, and cut it, it curled up the ends.\n\»Isn’t that nice? Now your hair isn’t annoying, huh.\»\nShe nods.\n\»Here, let’s go home and put you to bed.\»\nShe nods again.\n\»Hey, do you know when your birthday is?\»\n\»September 23rd.\»\n\»Oh, I’m surprised you knew.\»\n\»My brothers told me.\»\nHastings almost crashes the car, nearly forgetting to brake for a stoplight to turn around and look at her.\n\»YOU HAVE BROTHERS??\»\n\»They made me run away,\» she says coolly. \»They said it was dangerous in Heaven.\»\n\»Oookay. how long ago was this?\»\nShe starts counting, painfully slow.\n\»Uh. three years ago.\»\n\»You were- how old are you?\»\n\»Nine.\»\n\»You were SIX??\»\n\»Yeah.\»\n\»How- how long was that guy. bleeding you?\»\n\»As long as I’ve been in the human realm.\»\n\»Oh my god. \»\nHe looks at her. When he’d taken her to the doctor’s they’d remarked it was impossible to find an uninjured vein to take blood samples from, or to put an IV in. Hastings thinks about how miserable she was at the hospital, and shivers. \n———————————\n[i]The girl cries pathetically, shaking. Tears mix with her black blood, dripping off her face. She can’t make a sound, her mouth stitched shut. I look at her, shivering to think of the pain she’s in. Her wings are roughly slit and broken, skin covered in bandaids from, presumably, her blood being stolen. The nurse is examining her arm, trying to find a place to draw a bit of blood from for, what I assume, is a CBC. She eventually ties a tourniquet over her arm, and gets ready to draw some blood. The girl starts screaming, muffled by her treatment. [/i]\n[i]I reach over and grab her hand. [/i]\n[i]\»Hey. Hey, they aren’t here to hurt you.\»[/i]\n[i]The girl just keeps shrieking, thrashing in the nurse’s grip.[/i]\n[i]\»Please, calm down. listen, they’re here to help. They just need to make sure you’re healthy. healthy-ish—\»[/i]\n[i]She doesn’t seem to hear me. I pull her into my lap.[/i]\n[i]\»Hey. Hey, calm down. Deep breaths. Deep, deep. \»[/i]\n[i]The girl tries to oblige, hiccupping on sobs.[/i]\n[i]\»Good giiiirl. Now close your eyes, okay? Close your eyes and everything will be okay.\»[/i]\n[i]She refuses, staring up at me unblinkingly.[/i]\n[i]\»Shhh, sshhh, close your eyes, lay your head back, relax your muscles. You’ll feel better.\»[/i]\n[i]She buries her face in my shirt, squeezing her eyes shut. The nurse looks up at me.[/i]\n[i]\»Okay, you’re gonna feel a tiny pinch. \»[/i]\n[i]The girl is shaking. The nurse finally puts the needle in, and the girl screams. I hold her. I don’t know what else I can do. [/i]\n[i]She shudders, going nearly limp with relief when the needle is taken out. [/i]\n[i]\»There you go. Good girl. You’re so brave.\»[/i]\n[i]She doesn’t seem to acknowledge me, breaths heaving. [/i]\n[i]She’s taken to a hospital bed, and the nurse goes to put an IV in. She asks me to hold her still again. I oblige. I cover the girl’s eyes.[/i]\n[i]\»Okay, keep breathing for me. Deep breaths. Good girl, that’s it. \»[/i]\n[i]She screams again when they put her IV in. I hold her tighter.[/i]\n[i]\»It’s over. It’s all over now, shh, ssshh. look, it’ll even stop hurting in just a second, they’re going to make it stop hurting. \»[/i]\n[i]She lays back, slipping into a sedated daze. I slowly let go of her. The nurse starts removing the stitches in her mouth, and her black blood starts leaking from her lips. She doesn’t seem to notice anymore, sleepily laying there. [/i]\n[i]She’s soon taken away for some operation, probably to try and fix those wings. [/i]\n[i]The nurse comes up to me.[/i]\n[i]\»Thank you for bringing her in, Sir, you can go home now.\»[/i]\n[i]\»I’m staying with her.\»[/i]\n[i]\»Alright! Where’s her. family?\»[/i]\n[i]\»I don’t know. I don’t think she has one.\»[/i]\n[i]Well she does now. [/i]\n——————————————————————\nHastings watches Inkwell sleep, curled up in her bed, clutching her stuffie tightly. Hastings tucks her in.\n\»I won’t let anyone hurt you, ever again.\»»,»likes_count»:0>],»top_scores»:[<"id":671721,"title":"The Doors - Riders on the Storm (R. Manzarek part)","file_score_title":"Riders on the Storm","subtitle":"","description":null,"can_manage_score":false,"parts":1,"parts_names":["-"],"thumbnails":<"small":"https://musescore.com/static/musescore/scoredata/g/5eedf83c9219b9a68c3a1adadd317302a1863a8d/score_0.png@180x252?no-cache=1579553179&bgclr=ffffff","medium":"https://musescore.com/static/musescore/scoredata/g/5eedf83c9219b9a68c3a1adadd317302a1863a8d/score_0.png@300x420?no-cache=1579553179&bgclr=ffffff","large":"https://musescore.com/static/musescore/scoredata/g/5eedf83c9219b9a68c3a1adadd317302a1863a8d/score_0.png@500x660?no-cache=1579553179&bgclr=ffffff","original":"https://musescore.com/static/musescore/scoredata/g/5eedf83c9219b9a68c3a1adadd317302a1863a8d/score_0.png?no-cache=1579553179">,»share»:<"publicUrl":"https://musescore.com/user/36278/scores/671721","embedUrl":"https://musescore.com/user/36278/scores/671721/embed","url":"https%3A%2F%2Fmusescore.com%2Fuser%2F36278%2Fscores%2F671721","title":"The+Doors+-+Riders+on+the+Storm+%28R.+Manzarek+part%29","isShowSecretUrl":false>,»user»:<"id":36278,"name":"David Charlier","url":"https://musescore.com/david_charlier","image":"https://musescore.com/static/musescore/userdata/avatar/d/f/e/36278.jpg@150x150?cache=1559053969","is_pro":true,"is_staff":false,"is_moderator":false,"cover_url":"https://musescore.com/static/musescore/userdata/cover/4/5/1/36278.jpg?cache=1513988511","date_created":1340639041,"_links":<"self":<"href":"https://musescore.com/david_charlier">>>,»url»:»https://musescore.com/user/36278/scores/671721″,»duration»:»06:20″,»composer_name»:»Music: The Doors Transcription: David Charlier»,»pages_count»:6,»date_created»:1424930467,»date_updated»:1579553179,»favorite_count»:2155,»comments_count»:79,»instruments»:[«Piano»],»hits»:146623,»is_draft»:false,»processing»:»ready»,»revisions_count»:»9″,»revision_id»:8009275,»has_custom_video»:false,»has_custom_audio»:false,»is_private»:0,»is_origin»:false,»is_public_domain»:false,»truncated_description»:»Ray Manzarek’s part as played in the studio version. \r\n\r\nUPDATE 15.07.17: I made several improvements. \r\nNow the score is [url state=primary href=\»https://musescore.com/user/36278/scores/671721\»]Read more[/url]»,»musicxml_instruments»:[<"name":"keyboard.piano","label":null,"order":0>],»instrumentations»:[<"id":114,"name":"Solo","parent_id":0,"weight":0,"is_active":1,"is_auto":1>],»rating»:<"rating":4.87000000000000010658141036401502788066864013671875,"count":397,"count_to_visible":0,"stats":[<"rating":5,"count":359>,<"rating":4,"count":30>,<"rating":2,"count":2>,<"rating":3,"count":4>,<"rating":1,"count":2>],»user_rating»:null,»abusive_ban_time»:null,»abusive_ban_time_remain»:null>,»body»:»Ray Manzarek’s part as played in the studio version. \r\n\r\nUPDATE 15.07.17: I made several improvements. \r\nNow the score is compatible with musescore2 and the reprises are now all correct. I also added more lyrics so it is more evident to play 🙂 \r\n\r\nHave fun :)»,»tags»:[«the doors»,»riders»,»on the»,»storm»,»doors»,»ray»,»manzarek»,»morrison»,»krieger»,»keyboard»,»piano»],»is_downloadable»:1,»is_blocked»:false,»license»:»all-rights-reserved»,»instrumentation_id»:6,»is_original»:false,»measures»:143,»keysig»:»2 sharps»,»license_id»:9,»license_version»:»4.0″,»_links»:<"self":<"href":"https://musescore.com/user/36278/scores/671721">>>,<"id":1654766,"title":"Light My Fire","file_score_title":"Light My Fire","subtitle":"","description":null,"can_manage_score":false,"parts":1,"parts_names":["Organ"],"thumbnails":<"small":"https://musescore.com/static/musescore/scoredata/g/72a0d32453e5e2a8772666eb2796e9f780d8f883/score_0.png@180x252?no-cache=1579285861&bgclr=ffffff","medium":"https://musescore.com/static/musescore/scoredata/g/72a0d32453e5e2a8772666eb2796e9f780d8f883/score_0.png@300x420?no-cache=1579285861&bgclr=ffffff","large":"https://musescore.com/static/musescore/scoredata/g/72a0d32453e5e2a8772666eb2796e9f780d8f883/score_0.png@500x660?no-cache=1579285861&bgclr=ffffff","original":"https://musescore.com/static/musescore/scoredata/g/72a0d32453e5e2a8772666eb2796e9f780d8f883/score_0.png?no-cache=1579285861">,»share»:<"publicUrl":"https://musescore.com/user/6183441/scores/1654766","embedUrl":"https://musescore.com/user/6183441/scores/1654766/embed","url":"https%3A%2F%2Fmusescore.com%2Fuser%2F6183441%2Fscores%2F1654766","title":"Light+My+Fire","isShowSecretUrl":false>,»user»:<"id":6183441,"name":"Stiv84","url":"https://musescore.com/user/6183441","image":"https://musescore.com/static/musescore/userdata/avatar/default.jpg@150x150?cache=0","is_pro":false,"is_staff":false,"is_moderator":false,"cover_url":"https://musescore.com/static/musescore/userdata/cover/d/3/a/6183441.jpg?cache=0","date_created":1449479120,"_links":<"self":<"href":"https://musescore.com/user/6183441">>>,»url»:»https://musescore.com/user/6183441/scores/1654766″,»duration»:»02:51″,»composer_name»:»The Doors»,»pages_count»:3,»date_created»:1453383127,»date_updated»:1579285861,»favorite_count»:354,»comments_count»:6,»instruments»:[«Organ»],»hits»:29379,»is_draft»:false,»processing»:»ready»,»revisions_count»:»1″,»revision_id»:2505246,»has_custom_video»:false,»has_custom_audio»:false,»is_private»:0,»is_origin»:false,»is_public_domain»:false,»truncated_description»:»»,»musicxml_instruments»:[<"name":"keyboard.organ","label":null,"order":0>],»instrumentations»:[<"id":114,"name":"Solo","parent_id":0,"weight":0,"is_active":1,"is_auto":1>],»rating»:<"rating":4.62000000000000010658141036401502788066864013671875,"count":47,"count_to_visible":0,"stats":[<"rating":3,"count":4>,<"rating":5,"count":33>,<"rating":4,"count":10>],»user_rating»:null,»abusive_ban_time»:null,»abusive_ban_time_remain»:null>,»body»:»»,»tags»:[],»is_downloadable»:1,»is_blocked»:false,»license»:»all-rights-reserved»,»instrumentation_id»:0,»is_original»:false,»measures»:52,»keysig»:»natural»,»license_id»:9,»license_version»:»4.0″,»_links»:<"self":<"href":"https://musescore.com/user/6183441/scores/1654766">>>,<"id":93216,"title":"THE ANASAZI ACT I.: INTRODUCTION AND OPENING SCENE ","file_score_title":"THE ANASAZI","subtitle":"BY","description":null,"can_manage_score":false,"parts":17,"parts_names":["Flute","Oboe","B? Clarinet","Bassoon","Timpani","Soprano","Violins 1","Violins 2","Viola","Violoncello","Contrabass","","","","","",""],"thumbnails":<"small":"https://musescore.com/static/musescore/scoredata/g/6b54549aa275e054b214fc93b9f2f6fa33600713/score_0.png@180x252?no-cache=1581960840&bgclr=ffffff","medium":"https://musescore.com/static/musescore/scoredata/g/6b54549aa275e054b214fc93b9f2f6fa33600713/score_0.png@300x420?no-cache=1581960840&bgclr=ffffff","large":"https://musescore.com/static/musescore/scoredata/g/6b54549aa275e054b214fc93b9f2f6fa33600713/score_0.png@500x660?no-cache=1581960840&bgclr=ffffff","original":"https://musescore.com/static/musescore/scoredata/g/6b54549aa275e054b214fc93b9f2f6fa33600713/score_0.png?no-cache=1581960840">,»share»:<"publicUrl":"https://musescore.com/user/68195/scores/93216","embedUrl":"https://musescore.com/user/68195/scores/93216/embed","url":"https%3A%2F%2Fmusescore.com%2Fuser%2F68195%2Fscores%2F93216","title":"THE+ANASAZI++ACT+I.%3A+INTRODUCTION+AND+OPENING+SCENE+","isShowSecretUrl":false>,»user»:<"id":68195,"name":"delhud2","url":"https://musescore.com/user/68195","image":"https://musescore.com/static/musescore/userdata/avatar/6/d/8/68195.jpg@150x150?cache=1483948223","is_pro":true,"is_staff":false,"is_moderator":false,"cover_url":"https://musescore.com/static/musescore/userdata/cover/2/3/2/68195.jpg?cache=0","date_created":1359656131,"_links":<"self":<"href":"https://musescore.com/user/68195">>>,»url»:»https://musescore.com/user/68195/scores/93216″,»duration»:»03:42″,»composer_name»:»DELTON LORENZO HUDSON»,»pages_count»:15,»date_created»:1362500922,»date_updated»:1581960840,»favorite_count»:96,»comments_count»:9,»instruments»:[«Flute»,»Oboe»,»Clarinet»,»Bassoon»,»French Horn(2)»,»Trumpet»,»Trombone(2)»,»Timpani»,»Voice»,»Strings(5)»],»hits»:24582,»is_draft»:false,»processing»:»ready»,»revisions_count»:»13″,»revision_id»:3911551,»has_custom_video»:false,»has_custom_audio»:false,»is_private»:0,»is_origin»:false,»is_public_domain»:false,»truncated_description»:»NOTICE: OPERA PRODUCERS, OPERA COMPANIES, ACADEMIC OPERA DEPARTMENTS: A possible funding source for the World Premiere o [url state=primary href=\»https://musescore.com/user/68195/scores/93216\»]Read more[/url]»,»musicxml_instruments»:[<"name":"woodwinds.flute","label":null,"order":5>,<"name":"woodwinds.oboe","label":null,"order":4>,<"name":"woodwinds.bassoon","label":null,"order":2>,<"name":"percussion - drum.timpani","label":null,"order":1>,<"name":"strings - bowed.viola","label":null,"order":3>,<"name":"woodwinds.woodwinds (Other)","label":null,"order":0>],»instrumentations»:[<"id":48,"name":"Mixed Ensemble","parent_id":131,"weight":11,"is_active":1,"is_auto":1>],»rating»:<"rating":3.7400000000000002131628207280300557613372802734375,"count":5,"count_to_visible":0,"stats":[<"rating":5,"count":2>,<"rating":4,"count":1>,<"rating":1,"count":2>],»user_rating»:null,»abusive_ban_time»:null,»abusive_ban_time_remain»:null>,»body»:»NOTICE: OPERA PRODUCERS, OPERA COMPANIES, ACADEMIC OPERA DEPARTMENTS: A possible funding source for the World Premiere of The Anasazi exists. Funders would like to know what specific person/company shows interest. (Funds go to them, NOT me!) If interested, or for more information, e-mail me at: delton@deltonlorenzohudsonstar.com Or text/leave voice mail at: 970-201-8138 The Anasazi previews are available on line for a limited time only, until a Premiere is arranged.\r\n\r\n(This opera was inspired in part by ancient Native legends of the American Southwest.) \r\n\r\nSometime in the Future, in the American Southwest, there were peoples living who had come from lands in the Pacific ocean. They had escaped in sailing vessels to the shores of North America, called Turtle Island, and many penetrated into the present day area of Colorado, New Mexico, Arizona, and Utah. They were not alone, for there were Native Americans there who had grown in numbers and power since the great upheavals or disaster had occurred long ago. The Old Technology of our present world had been forgotten mostly, and even renounced and outlawed. Only a few wise kahunas and shamans remembered, having been taught in visions and traditions handed down. Some of the tales they knew spoke of a few enclaves of special people, highly evolved spiritually, already living in those parts of Turtle Island even before the Native Americans. They were called \»The Anasazi\», the Ancient Ones. There were chants in sacred rituals telling stories about this masterful race and how they lived in a few secluded places in the mountains and mesas. The poetry in the chants told how there were critical times when leaders of this mysterious people had even helped the newcomers when appealed to, as if they were in reality some sort of Angels. However, the shamans knew that later on after the help was given, the marvellous benefactors could not be seen again, nor could their temples be found again. The Chiefs and Kahunas spoke secretly among themselves of how the structures they had seen seemed to fade in and out of manifestation, as if they were not totally synchronized with the time/space that the Native/Pacific peoples lived in. Against this background, the opera is the story of Kochani, Anasazi Prince, and Leilani, a great Native Chief’s daughter.\r\n\r\nSelection: In this selection from Act I, Introduction and Scene 1, The orchestra plays a brief introduction ,setting the mood for the work, in which the \»Anasazi Theme\» is first presented by the Brass section. (This theme undergoes many transformations later on in the opera.) Then, as the curtain rises, Leilani, daughter of Chief Kalani of the Eagle Tribe enters on stage wildly, having been pursued through the Forbidden Zone by the evil Grand Duchess Zirancilla, a fallen Anasazi, ruler of the Forbidden Zone and cousin of Kochani, the Prince, whose high status she is jealous of . Leilani had fled from her home to seek help from Anasazi Prince Kochani for her beleaguered people. Her Shaman Kaimi, had trained her in the old legends and ways. But she had been forbidden to leave her home area by Kalani. (See Complete Synopsis of both acts below.)\r\n THE ANASAZI\r\nOPERA IN TWO ACTS\r\nMUSIC, BOOK, AND LIBRETTO BY DELTON LORENZO HUDSON\r\n\r\nCHARACTERS OF THE TWO — ACT DRAMA\r\n\r\nKOCHANI, Prince of the Anasazi. ………………………….Tenor\r\nLEILANI, daughter of the Chief of the Eagle Tribes……. Soprano\r\nLANCERAM, Chief Advisor and friend to Kochani……..Baritone\r\nZIRANCILLA, Grand Duchess of the Anasazi……………Soprano\r\nJACIN, Hierophant of the Anasazi…………………………….Bass\r\nKALANI, High Chief of the Eagle Tribes……………………..Bass\r\nKAIMI, Shaman of the Eagle Tribes………………………Baritone\r\nKEKIPI, Heir of Kalani, Suitor of Leilani……………………Tenor\r\nWIKANYA, the tribal Heyokah (Clown)………………….Baritone\r\nMEHE-WINYAN, wife of Kalani, mother of Leilani. Mezzo-Sopr.\r\nTHREE GUARDIAN PRIESTESSES, Soprano 1,2, Alto. THREE ACOLYTES (BOYS) OF THE ORACLE, Soprano 1,2, Alto. TWO KACHINAS (SPIRITS), Tenor, Baritone. EAGLE TRIBE HIGH COUNCIL (SATB,Two voices on each part) and MEMBERS, (CHORUS SATB). ANASAZI COURT AND MEMBERS (CHORUS, SATB). WOMEN’S TEMPLE CHORUS, S1,2, Alto, (Divided into a Double Chorus ,S1,2, Alto at one point). \r\n\r\nACT I.\r\nThe Wild (Forbidden) Zone, near the ramparts of the Anasazi. It is late evening. Leilani,having stolen away from home against the orders of her father to try to find the Anasazi and seek their help in her Eagle Tribe’s crises, staggers onto the scene , being chased by Zirancilla. Leilani falls in exhuastion as Zirancilla exults at finding her. Aria: “There you are, you foolish woman.” But Kochani and Lanceram, on an evening stroll along their gates, hear the commotion and confront Zirancilla, disputing her right to harm Leilani for being in the Forbidden area. Overcome by their mighty words of power, she leaves, but vows to deal with them later. Kneeling beside Leilani, Kochani is mesmerized by her beauty, in spite or her wild hair, bruises and scratches, and wants to help her. Leilani tells him her name and that she is from the tribes and lost . Lanceram reminds him they are not supposed to have any overt contact with the tribal peoples, but as the sound of a Native American flute is heard, Leilani exclaims, my Shiwanni, (Guides), take me home! To the sound of jingling bells, two Kachinas, (spiritual beings) enter. “Swiftly from our Holy Peaks we fly to you!” They dance and sing. Duet: “From the silent forest we will come to answer you.” Singing “Take our hands, come with us, back to your Lodge.”, they levitate and fly away, holding Leilani in their arms. Twilight is fading and Lanceram urges Kochani to return to the fortress, but the Prince is enchanted by the vision of Leilani and wants to linger awhile. He knows by his stars he is destined to meet her again. Aria: “Her eyes in sunset’s fading glow yet brightened me with inner light.”\r\n\r\nScene: The chief village of the Eagle Tribe. About one month later. It is the season of the rising of the Great White Buffalo stars, when the tribe celebrates the Great Migration to Turtle Island. Leilani, Kalani, Kaimi the Shaman, and Mehe-Winyan,Leilani’s mother, prepare to lead the people in this event. But Leilani complains that all is not well, that there is nothing to celebrate. “Our plight is dangerous! Enemies on all sides! Famine and fighting!” She reiterates that they must find the Anasazi for help. Her mother reminds her that she could have perished already in that attempt, Kalani forbids her again to seek the Anasazi., and they enjoin her to help lead the event. Reluctantly, she joins them. Quartet: “Rejoice in our passage! Thanks be to Him who helps us from on High.”Awaiting the arrival of Kalani’s High Council, they discuss the old legends of the Ancient Ones, so powerful to help if it were willed. But Mehe-Winyan, of mostly Native descent, scoffs at the idea, calling it hogwash and says her Native American ancestors helped the new people. Kaimi argues that the Ancient Ones from the Lost lands came even before the tribes, able to fly through the air, and building the mysterious ruins. She answers that even in bygone times, those ruins were just places for scorpions to live in. Finally, the High Council arrives. Kalani scolds them for being late. They explain that they were detained by hearing the complaints of the people—shortage of food, villages being attacked, horses stolen, people sick and dying. Things are bad, “The tribes of the Eagles have fallen from the sky.“ Kalani replies that they have faced such things before. “We your faithful Council await your commands.” A guard announces the arrival of Kekipi, the young heir. Kekipi says he has just come from the battle with the enemy tribe; accusing the Warchief of leading badly. He demands to be made Warchief (Commander) in his stead. Kalani refuses, saying he must still prove himself, that, though courageous, he is too headstrong, not experienced. Kekipi, defies the High Council and Kalani. Aria: “My name is Kekipi, all men will know it.” He again tells Kalani to make him Warchief and to announce his engagement to Leilani in front of the whole tribe. Mehe-Winyan says they must all get on with the preparations for tomorrow’s event. Change of Scene: A small glade or meadow in the mountain foothills. Leilani and Kekipi are enjoying a picnic, and Kekipi strums his guitar. They sing about their beautiful land and the idyllic scene. Duet: “I love this fine life, along the mesas.” Animals and birds shyly appear to listen. Then they converse. Leilani: “You’re not exactly modest, are you?” Kekipi retorts: Why should I put myself down when I am going to be the new leader?” Leilani replies she hates war and they must seek help from the Prince. What Prince? Kekipi asks. Leilani then recounts how she lay fallen in the Wild Zone, and how the kind Prince Kochani and his companion found her, that she has since seen him in visions at night, and she must see him again. She knows also that he is seeing her in his dreams, as he lies tossing in his bed at night. Kekipi angrily reminds her they are engaged,but then brags that he too has a vision, of a mysterious woman, named Zirancilla. “She is a Grand Duchess or something of a mighty nation. She wields strange powers.” Kekipi continues that she was wrongfully displaced as a ruler, living in the Wild Zone, and has told him she will help him lead the Eagles to victory if Kalani fails him. Leilani remonstrates that he CAN trust her father. “If you want to fall for a a line like that from some Dream Woman, I feel sorry for you!”.\r\n\r\nScene: The “Town square”, or circular open area of the settlement. Act 1 Finale. The celebration commences with the Tribal Chorus: “Lead us! Kaimi and Kalani! “ Kaimi raises his hands in supplication: “ Hear us ,Great Mystery!”, this plea then repeated by the High Council.Leilani, Mehe-Winyan, Kaimi and Kalani Quartet: “We will now lead you”, answered antiphonally by the High Council. The Tribal Chorus sings then of how they celebrate the Great Journey, braving the ocean’s perils, guided to this land of Turtle Island by Those Above. But as Kaimi is beginning the Sacred Dance, the Heyokah Wakinyan interrupts with a loud “No!” “Things aren’t going too well for us, are they? Why don’t we try the ceremonies backwards? Let’s hope the High Ones like it better!”Shocked, Kaimi and the Tribal Chorus protest this sacrilege, but Wakinyan reminds them that he was made Holy and Heyokah on the high mountains in a lightning strike. Suddenly a commotion, the Warchief enters, wounded and staggering. All is lost, he reports. The battle is lost! My brave warriors scattered! Kekipi then confronts Kalani, saying this is it! Either I am to be made Warchief and Leilani’s Bridegroom or nothing! Kalani retorts, then be nothing! I could have helped you, Kekipi says. I have a powerful ally, a magical woman who could hurl thunderbolts against our enemies if I asked her to. Leilani laughs scornfully, that witchy-woman, a sorceress? The High Council mocks him— what nonsense! Kekipi renounces the tribe, says he is leaving for the Forbidden Zone to join Zirancilla. “You’ll all be sorry that Kekipi is gone!” He leaves. The High Council says they have no time to worry about him, that their only hope now is to find the Anasazi and beg them to help. What if they are just an old legend ? Kalani questions. They exist, Kaimi assures them, I trust my visions! Leilani exclaims, we must ask the kind Prince to help us! The High Council asks Kalani to send a delegation to the Anasazi. Kaimi pleads: “Say the word, Kalani! We could go down into destruction!” A long, quiet moment, and Kalani reluctantly agrees. “So be it! It is done!” The Tribal Chorus concludes Act 1: “On through the Wild Zone! Where phantoms and winds moan…to find the Anasazi, to walk in marble Halls of Light…weary, yet proud, beneath Great Spirit’s Eagle wings we go!…”\r\n\r\nACT 2\r\n\r\nScene: An oratory or adytum, belonging to the main Anasazi temple, with starry representations of the Zodiac on the ceiling and walls. Jacin, the Anasazi Hierophant, and Lanceram are on stage. Jacin sings a Canticle to the Pleiades: “Hail, you seven sisters! Mystery in stellar deeps.” He complains that Kochani was not present for the Cancticle, nor were the three Priestesses. Lanceram tells him he is so preoccupied with ceremonies that he hasn’t noticed how the Prince is distracted these days with thoughts of a Native Princess. The three Guardian Priestesses enter,telling Jacin that they were late by reason of consulting signs and portents at the Prince’s command. They tell him that in the Temple the lights in the Crystal are forming the cryptogram of the Age’s End. “The end of our mission?” Lanceram asks. “Impossible” Jacin ejaculates.\r\n“ Let us ask the Oracle Acolyte boys,” say the Priestesses, as the Three Acolytes enter and sing. Trio: “From Time’s misty halls…Futures dawning in Time’s flow, by the Oracle we may know.” The Priestesses sense outsiders approaching the Gates and ask the boys if it is that “ barbarian princess who bewitched our Prince” and some of her people approaching. Trio: “Yes, they come to seek our help.” Lanceram says “we must free the Prince from this obsession!” The boys:“ Lanceram, you may not alter Destiny’s plans that never falter!” Everyone looks into a large metallic scrying disk. They see strangers approaching the gates. Lanceram recognizes Leilani among the Eagle delegation. Priestesses: (Trio) “We see them approaching our palaces of light…we may not let a mortal pass who has not our esteem!” Kochani enters, distraught. He looks into the mirror. They see the following scene in its depths. The scene changes to the Wild Zone, in front of the Anasazi portal and walls. The Tribal Delegation, led by Leilani, Kaimi, and Wakinyan, enter, struggling, exhausted. Zirancilla and Kekipi enter suddenly. Zirancilla threatens the delegation, but the two Kachinas enter from the shadows to thwart her. Kachina Duet: “From the silent Forest… Our power ends here but our love goes with you, you are our people.” The delegation kneels before them as they dance among them, giving a blessing, and command the delegation to go and knock upon the doors of the Anasazi. They disappear. The delegation members knock and cry “help us! open your gates!” The scene changes back to the Adytum. Kochani sees Leilani in the disc and cries out, it is she! He commands Lanceram to go and order the guards to open the gates and let them in.\r\nScene Change: The Throne Room of the Anasazi. Lanceram argues against helping the tribe, telling the Prince that he is just infatuated with Leilani, but Kochani remains firm that they ,the Anasazi, are meant to be caretakers of the Earth and Agents of the High Ones, and that the tribesmen deserve their help. Jacin and the Priestesses enter, as Lanceram escorts the Tribal delegation into the room, as the theme of the Lament of the Eagles plays.”Behold the Eagles!” he announces to Kochani upon his throne. The Delegation Chorus then sings the Lament: “Prince of Legend, raise your starred scepter…help us in our plight…” Kochani steps down taking the kneeling Leilani’s hand in his and raising her up. He sings , “You need not kneel, my fair Leilani..” The Aria becomes a brief duet as she joins him near the end. But Jacin, Lanceram, and the Priestesses, in a Quintet , protest:” They must not enter our Temples of Light…” The Acolytes enter. They sing that the Oracle says help must be given, a new Cycle is starting. “Share the divine gifts.” The Court agrees that all should pay attention to what the boys say; Kochani says we will discuss helping later, but now wishes to meet some of the Delegation members. Kochani introduces him to Kaimi and the High Council. Kochani notices the Heyokah, saying “And who might you be, friend?” Wakinyan replies, “It not who I might be, Prince. I am—well, I’ll tell you—” Heyokah’s Song: “I am Heyokah…I do everything backwards…” The whole Court applauds. Jacin announces that if help were given, Leilani must be presented and accepted by the Great Energy in a Ceremony to be done tomorrow in the Temple. The Priestesses and Kochani agree.The Scene changes to a cave, the lair of Zirancilla ,high on a peak overlooking the Wild Zone. Zirancilla tells Kekipi she is worried; Leilani’s love for Kochani will add to his powers. Kekipi counters that she has nothing to worry about, but she tells him “You do not know what forces we’re dealing with!” Aria : “Behold my wild domain of pinyon, rock and rain!” Yet she vows that she and Kekipi will rule the Anasazi.\r\n\r\nTime: The next day. Scene: The Anasazi Temple of the All, or Great Energy. Temple Chorus: “Enter our Temple, O brave Leilani!” She is advised to guard her feelings and thoughts; Jacin cautions her that the Power moves in a circle and that the Great Energy cannot be trifled with. The Chorus warns her to be true to her Soul, while the Priestesses also warn her that “Many before you came to us unprepared and perished!” Yet, “Help can be given to those who have striven, but first, a test must be given!…The Power you must valiantly win!” Yet they sing also, joined by Jacin and Kochani, of the joy of the One who lives in the dolphins, the sun, the meadowlark: the mystic splendor of the All-In-All. But Lanceram warns that the Ceremony is a dangerous business. All exeunt except Kochani and Leilani, who now must be alone to contemplate the gravity of what they are about to do, until the Acolytes enter to bless them. Leilani : “Hold me, Kochani! I have braved much, but now I’m trembling!” Embracing her, Kochani reassures her, that her intentions and heart have been purified by her trials, that she will be accepted. The Acolytes enter, singing to them a welcome to the Temple, and that no harm can befall her here, unless her thoughts are dark and loveless. “We pray the Light protect you…Our magic music keep you, power through its tones we send you!”. (Curtain) The orchestra plays a few bars of introduction, the curtain rises. Jacin, Kochani, Lanceram, Leilani and the Temple Attendants (Women’s Chorus) are onstage. Jacin invokes the “Portals of Power;”\r\nThe Chorus presents her, and Leilani vows to the All to keep the promises she has been charged with. The Double Chorus continues with instruction for her about Anasazi tradition: “When Earth Was Younger”.\r\nKochani tells Leilani the Old Land of M. lies beneath the waves now; the Chorus sings: “The sacred knowledge we bear, we pass to you!” Jacin and Kochani further instruct her about the Ceremony. Lanceram warns again about the risk, but Jacin retorts “ Everything we do always has its risks!” Members of the Court now enter, joining the Temple chorus to form the full Anasazi Chorus. The Acceptance begins; Leilani concentrates on letting the Power flow through her and seeing visions: “Symbols strange I see”. Chorus: Their message is meant for you.” Leilani sees “Marble cities shining in azure skies, in that ancient Elysium.” Lanceram exclaims to her “I warn you! You don’t know what Evil was there! I beg you, stop the ritual!” The Chorus rebukes him: “O Lanceram, shame Lanceram!” An aureole from the All begins to form in the Temple East, but lurid lights begin to flash, and rumbling sounds like distant thunder are heard. Priestesses: “We sense the Grand Duchess may be attempting to degrade the Crystal!” In Kochani’s hand, his sacred wand (scepter) feels icy cold, he exclaims. Leilani questions, “What is happening, I feel so strange!” The lights in the Temple dim; Jacin says ,“We must act quickly to protect the fading Energy!” An ominous quiet descends over the Temple. The Contrabasses play a fragment of a Zirancilla motif pianissimo, three foreboding Tympani notes, then the Horns (cuivre) blare out the motive and strings and winds rush upward in a long scale, the strange lights flare up as Zirancilla, with Kekipi, enters: (Zirancilla):“So, we meet again, Kochani!— and sweet Leilani!” Kochani commands her to begone, but she replies that she will command him. Kekipi says “I am Kekipi. everyone knows me!”(An echo of his Aria in Act 1.) Zirancilla points her hands at Kochani; he staggers and drops the scepter , then lies prostrate as Leilani approaches him and kneels over him, saying, “Speak to me!” “He will not answer, foolish woman,” Zirancilla gloats, and orders everyone to kneel to her, that she is now their ruler, “The power of the Crystal is mine!” Chorus: “The Prince is silent…” Zirancilla attempts to seize the scepter, but Leilani warns her away, as Kekipi says “Let her have it, Leilani, don’t try to defy her!” The Chorus also warns her not to touch it—it could be death for her. But Leilani now holds the Scepter up high and stands facing Zirancilla and Kekipi.\r\n\r\n“Begone! Begone!” she commands them, “ In the name of Kochani and with the power of our Love!” They stagger back from her. Leilani, protected by her power circle, again kneels by Kochani, fast reviving in her arms, but Zirancilla and Kekipi regain strength and advance toward Leilani . Kochani, with suddenly restored strength, stands and joins Leilani in placing his hands upon the Wand/Scepter: “Let both our hands wield the Power together, Leilani!” They advance toward Zirancilla and Kekipi, who retreat cringingly before them as they intone: “We send you, we send you—to the Nether regions!” Zirancilla and Kekipi vanish into a fiery cloud, with smoke and thunder. As the flames and thunder die away, the Orchestra plays softly a motive of Zirancilla and one of Kekipi, then forte ma lachrymose chords, in a minor key, derived from the Anasazi theme from the Opera’s introduction. (An expression of two fallen beings.) The Priestesses sing joyously that Darkness has been put to flight, The Prince is freed from evil and around Leilani the aureole has descended; she has been accepted by the Power. Jacin announces to” Leilani: “By our transcendent means we have a surprise!” Her father and mother appear for a happy reunion with her and the Tribal Delegation. Kochani promises that the Eagles and the Anasazi will work to heal the Earth and harmonize Nature’s kingdoms. 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Stephens","url":"https://musescore.com/victor_stephens","image":"https://musescore.com/static/musescore/userdata/avatar/6/4/f/4065326.jpg@150x150?cache=1570203092","is_pro":false,"is_staff":false,"is_moderator":false,"cover_url":"https://musescore.com/static/musescore/userdata/cover/0/4/f/4065326.jpg?cache=1540671490","date_created":1438808064,"_links":<"self":<"href":"https://musescore.com/victor_stephens">>>,»url»:»https://musescore.com/user/4065326/scores/1142306″,»duration»:»03:09″,»composer_name»:»Written and Performed by My Chemical Romance»,»pages_count»:14,»date_created»:1440199497,»date_updated»:1579341326,»favorite_count»:215,»comments_count»:31,»instruments»:[«Voice(3)»,»Piano»],»hits»:16771,»is_draft»:false,»processing»:»ready»,»revisions_count»:»2″,»revision_id»:4742176,»has_custom_video»:false,»has_custom_audio»:false,»is_private»:0,»is_origin»:false,»is_public_domain»:false,»truncated_description»:»Title — Helena\r\nArtist — My Chemical Romance\r\nAlbum — Three Cheers For Sweet Revenge\r\nYear — 2004\r\nRecord Label — Blow Th [url state=primary href=\»https://musescore.com/user/4065326/scores/1142306\»]Read more[/url]»,»musicxml_instruments»:[<"name":"keyboard.piano","label":null,"order":4>,<"name":"voice.soprano","label":null,"order":2>,<"name":"voice.alto","label":null,"order":0>,<"name":"voice.tenor","label":null,"order":1>,<"name":"voice.vocals","label":null,"order":3>],»instrumentations»:[<"id":138,"name":"Piano Sextet","parent_id":124,"weight":1,"is_active":1,"is_auto":1>],»rating»:<"rating":0,"count":0,"count_to_visible":2,"stats":[],"user_rating":null,"abusive_ban_time":null,"abusive_ban_time_remain":null>,»body»:»Title — Helena\r\nArtist — My Chemical Romance\r\nAlbum — Three Cheers For Sweet Revenge\r\nYear — 2004\r\nRecord Label — Blow The Doors Off The Jersey Shore, Inc. (BMI)\r\n\r\nArrangement Artist — Ryder Marcus Stephens\r\nArrangement For — SAT Choir and Piano\r\nArrangement Year — 2015/2016\r\n\r\nNotes: Multiple optional solo/duet spots that are open to any part, no just the part assigned.»,»tags»:[«my chemical romance»,»helena»,»three cheers for sweet revenge»,»emo»,»choir»,»soprano»,»alto»,»rock»,»gerard way»,»frank iero»,»mikey way»,»ray toro»,»tenor»],»is_downloadable»:1,»is_blocked»:false,»license»:»all-rights-reserved»,»instrumentation_id»:0,»is_original»:false,»measures»:78,»keysig»:»natural»,»license_id»:9,»license_version»:»4.0″,»_links»:<"self":<"href":"https://musescore.com/user/4065326/scores/1142306">>>],»commented_scores»:[<"id":5912674,"title":"The Four Seasons","file_score_title":"Le Quattro Stagioni (The Four Seasons)","subtitle":"Arranged for Solo Piano","description":null,"can_manage_score":false,"parts":1,"parts_names":["Piano"],"thumbnails":<"small":"https://musescore.com/static/musescore/scoredata/g/e36deff19105791b2232a663218d3174000ef72e/score_0.png@180x252?no-cache=1588580383&bgclr=ffffff","medium":"https://musescore.com/static/musescore/scoredata/g/e36deff19105791b2232a663218d3174000ef72e/score_0.png@300x420?no-cache=1588580383&bgclr=ffffff","large":"https://musescore.com/static/musescore/scoredata/g/e36deff19105791b2232a663218d3174000ef72e/score_0.png@500x660?no-cache=1588580383&bgclr=ffffff","original":"https://musescore.com/static/musescore/scoredata/g/e36deff19105791b2232a663218d3174000ef72e/score_0.png?no-cache=1588580383">,»share»:<"publicUrl":"https://musescore.com/user/29997099/scores/5912674","embedUrl":"https://musescore.com/user/29997099/scores/5912674/embed","url":"https%3A%2F%2Fmusescore.com%2Fuser%2F29997099%2Fscores%2F5912674","title":"The+Four+Seasons","isShowSecretUrl":false>,»user»:<"id":29997099,"name":"A_Random_Phoenix","url":"https://musescore.com/a_random_phoenix","image":"https://musescore.com/static/musescore/userdata/avatar/a/2/a/29997099.jpg@150x150?cache=1552506443","is_pro":false,"is_staff":false,"is_moderator":false,"cover_url":"https://musescore.com/static/musescore/userdata/cover/3/2/0/29997099.jpg?cache=1562105014","date_created":1539662992,"_links":<"self":<"href":"https://musescore.com/a_random_phoenix">>>,»url»:»https://musescore.com/user/29997099/scores/5912674″,»duration»:»40:10″,»composer_name»:»Antonio Vivaldi»,»pages_count»:60,»date_created»:1578000241,»date_updated»:1588580383,»favorite_count»:782,»comments_count»:100,»instruments»:[«Piano»],»hits»:13095,»is_draft»:false,»processing»:»ready»,»revisions_count»:»4″,»revision_id»:9862741,»has_custom_video»:false,»has_custom_audio»:false,»is_private»:0,»is_origin»:false,»is_public_domain»:true,»truncated_description»:»For Piano Solo:\nThis took WAY too long.\n\nI had a great idea, and it took me nearly half a year to arrange this. I guess t [url state=primary href=\»https://musescore.com/user/29997099/scores/5912674\»]Read more[/url]»,»musicxml_instruments»:[<"name":"keyboard.piano","label":null,"order":0>],»instrumentations»:[<"id":114,"name":"Solo","parent_id":0,"weight":0,"is_active":1,"is_auto":1>],»rating»:<"rating":4.86000000000000031974423109204508364200592041015625,"count":238,"count_to_visible":0,"stats":[<"rating":5,"count":216>,<"rating":3,"count":4>,<"rating":4,"count":16>,<"rating":1,"count":2>],»user_rating»:null,»abusive_ban_time»:null,»abusive_ban_time_remain»:null>,»body»:»For Piano Solo:\nThis took WAY too long.\n\nI had a great idea, and it took me nearly half a year to arrange this. I guess that it’s worth it, so all is well.\n\nHopefully.\n\nSpring is slightly. difficult. As long as you can tremolo on piano. You’ll be fine.\n\nSummer is. also difficult. I have no idea how to play it. Just practice tremolos and quick ascending and descending passages. \n\nAs for Autumn, well, I guess you could play it ok. Just remember Vivaldi loves thirds. (In this piece anyway.)\n\nWinter might be fine, just don’t ask me how to play the second movement. All it needs is a melody passed over a \»pizzicato\» line.\n\nIt looks nice on synthesia, tho. This is purely for enjoyment, although if someone is able to play it, that’ll be great. I fully support your mission to play The Four Seasons on piano. :D\n\nHope you enjoy!\n\nThx!\n\nBackground on The Four Seasons! (Just for reads 😀 )\n\nThe Four Seasons is a set of 4 violin concertos, each containing three movements, composed by Antonio Lucio Vivaldi. They propose an early form of descriptive music; for example, Winter makes prominent use of moving lines, whereas Summer evokes a storm in its final movement. As such, they can be classified as program music, instrumental music intended to evoke something extra-musical, and an art form which Vivaldi was determined to prove sophisticated enough to be taken seriously. The Four Seasons remain very popular to this day, some of its movements spawning a great number of derivative works, whereas thousands of recordings of the original pieces have been made. It is still debated if Vivaldi wrote these concertos to accompany four sonnets that may have been written by himself, or vice versa. (You’ll find the sonnets as italicized Italian text. The all-caps text are commands left by Vivaldi, such as \»The barking dog\» (Spring, Mvmt 2), \»Languor caused by the heat\» (Summer, Mvmt 1), and \»The drunkards have fallen asleep\» (Autumn, Mvmts 1 & 2)) The theory that Vivaldi wrote the sonnets is supported by the fact that each sonnet is broken into three sections, each neatly corresponding to a movement in the concertos, however, Vivaldi could just as easily happened to have found them. :)\n\nSonnets! (Just in case 😉 )\n\nLa Primavera, Movimento Uno

\nGiunt’ è la Primavera e festosetti\nLa Salutan gl’ Augei con lieto canto,\nE i fonti allo Spirar de’ Zeffiretti\nCon dolce mormorio Scorrono intanto:\nVengon’ coprendo l’ aer di nero amanto\nE Lampi, e tuoni ad annuntiarla eletti\nIndi tacendo questi, gl’ Augelletti;\nTornan’ di nuovo al lor canoro incanto:\n\nLargo

\nE quindi sul fiorito ameno prato\nAl caro mormorio di fronde e piante\nDorme ‘l Caprar col fido can’ à lato.\n\nAllegro

\nDi pastoral Zampogna al suon festante\nDanzan Ninfe e Pastor nel tetto amato\nDi primavera all’ apparir brillante.\n\nSpring, Movement One

\nSpringtime is upon us.\nThe birds celebrate her return with festive song,\nand murmuring streams are\nsoftly caressed by the breezes.\nThunderstorms, those heralds of Spring, roar,\ncasting their dark mantle over heaven,\nThen they die away to silence,\nand the birds take up their charming songs once more.\n\nLargo

\nOn the flower-strewn meadow, with leafy branches\nrustling overhead, the goat-herd sleeps,\nhis faithful dog beside him.\n\nAllegro

\nLed by the festive sound of rustic bagpipes,\nnymphs and shepherds lightly dance\nbeneath the brilliant canopy of spring.\n\nL’Estate, Movimento Uno

\nSotto dura Staggion dal Sole accesa\nLangue l’ huom, langue ‘l gregge, ed arde il Pino;\nScioglie il Cucco la Voce, e tosto intesa\nCanta la Tortorella e ‘l gardelino.\nZeffiro dolce Spira, mà contesa\nMuove Borea improviso al Suo vicino;\nE piange il Pastorel, perche sospesa\nTeme fiera borasca, e ‘l suo destino;\n\nAdagio e piano – Presto e forte

\nToglie alle membra lasse il Suo riposo\nIl timore de’ Lampi, e tuoni fieri\nE de mosche, e mosconi il Stuol furioso!\n\nPresto

\nAh, che pur troppo i Suo timor Son veri\nTuona e fulmina il Ciel e grandinoso\nTronca il capo alle Spiche e a’ grani alteri.\n\nSummer, Movement One

\nUnder a hard season, fired up by the sun\nLanguishes man, languishes the flock and burns the pine\nWe hear the cuckoo’s voice;\nthen sweet songs of the turtledove and finch are heard.\nSoft breezes stir the air, but threatening\nthe North Wind sweeps them suddenly aside.\nThe shepherd trembles,\nfearing violent storms and his fate.\n\nAdagio e piano – Presto e forte

\nThe fear of lightning and fierce thunder\nRobs his tired limbs of rest\nAs gnats and flies buzz furiously around.\n\nPresto

\nAlas, his fears were justified\nThe Heavens thunder and roar and with hail\nCut the head off the wheat and damages the grain.\n\nL’Autunno, Movimento Uno

\nCelebra il Vilanel con balli e Canti\nDel felice raccolto il bel piacere\nE del liquor de Bacco accesi tanti\nFiniscono col Sonno il lor godere.\n\nAdagio molto

\nFà ch’ ogn’ uno tralasci e balli e canti\nL’ aria che temperata dà piacere,\nE la Staggion ch’ invita tanti e tanti\nD’ un dolcissimo Sonno al bel godere.\n\nAllegro

\ncacciator alla nov’ alba à caccia\nCon corni, Schioppi, e cani escono fuore\nFugge la belva, e Seguono la traccia;\nGià Sbigottita, e lassa al gran rumore\nDe’ Schioppi e cani, ferita minaccia\nLanguida di fuggir, mà oppressa muore.\n\nAutumn, Movement One

\nCelebrates the peasant, with songs and dances,\nThe pleasure of a bountiful harvest.\nAnd fired up by Bacchus’ liquor,\nmany end their revelry in sleep.\n\nAdagio molto

\nEveryone is made to forget their cares and to sing and dance\nBy the air which is tempered with pleasure\nAnd (by) the season that invites so many, many\nOut of their sweetest slumber to fine enjoyment\n\nAllegro

\nThe hunters emerge at the new dawn,\nAnd with horns and dogs and guns depart upon their hunting\nThe beast flees and they follow its trail;\nTerrified and tired of the great noise\nOf guns and dogs, the beast, wounded, threatens\nLanguidly to flee, but harried, dies.\n\nL’Inverno, Movimento Uno

\nAggiacciato tremar trà nevi algenti\nAl Severo Spirar d’ orrido Vento,\nCorrer battendo i piedi ogni momento;\nE pel Soverchio gel batter i denti;\n\nLargo

\nPassar al foco i di quieti e contenti\nMentre la pioggia fuor bagna ben cento\n\nAllegro

\nCaminar Sopra il giaccio, e à passo lento\nPer timor di cader girsene intenti;\nGir forte Sdruzziolar, cader à terra\nDi nuove ir Sopra ‘l giaccio e correr forte\nSin ch’ il giaccio si rompe, e si disserra;\nSentir uscir dalle ferrate porte\nSirocco, Borea, e tutti i Venti in guerra\nQuest’ é ‘l verno, mà tal, che gioja apporte.\n\nWinter, Movement One

\nTo tremble from cold in the icy snow,\nIn the harsh breath of a horrid wind;\nTo run, stamping one’s feet every moment,\nOur teeth chattering in the extreme cold\n\nLargo

\nBefore the fire to pass peaceful,\nContented days while the rain outside pours down.\n\nAllegro

\nWe tread the icy path slowly and cautiously,\nfor fear of tripping and falling.\nThen turn abruptly, slip, crash on the ground and,\nrising, hasten on across the ice lest it cracks up.\nWe feel the chill north winds course through the home\ndespite the locked and bolted doors. \nthis is winter, which nonetheless\nbrings its own delights.\n\nTimestamps! (These took way too long. AND MUSESCORE DELETED THEM!)\n\nSpring: Mvmt 1

00:00 — 03:30 (3 Min. 30 Sec.) (Measures 0-83, Pages 1-7), Mvmt 2

03:30 — 05:57 (2 Min. 27 Sec.) (Measures 84-122, Pages 7-11), Mvmt 3

05:57 — 10:27 (4 Min. 30 Sec.) (Measures 123-213, Pages 11-16)\n\nSummer: Mvmt 1

10:27 — 15:33 (5 Min. 6 Sec.) (Measures 214-387, Pages 17-23), Mvmt 2

15:33 — 17:27 (1 Min. 54 Sec.) (Measures 388-409, Pages 23-25), Mvmt 3

17:27 — 20:08 (2 Min. 41 Sec.) (Measures 410-539, Pages 25-32)\n\nAutumn (Fall): Mvmt 1

20:08 — 25:02 (4 Min. 54 Sec.) (Measures 540-654, Pages 32-38), Mvmt 2

25:02 — 27:40 (2 Min. 38 Sec.) (Measures 655-699, Page 39), Mvmt 3

27:40 — 31:22 (3 Min. 42 Sec.) (Measures 700-856, Pages 39-44)\n\nWinter: Mvmt 1

31:22 — 34:51 (3 Min. 29 Sec.) (Measures 857-921, Pages 44-52), Mvmt 2

34:51 — 37:00 (2 Min. 9 Sec.) (Measures 922-939, Pages 53-54), Mvmt 3

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