#I also didn’t realize just how much Oboe the score uses

[bread-of-death]

Never occurred to me just how tall they made Jack Skellington, and how he’s literally alllll leg lol

[fistsoflightning]

unending character meme // zaya qestir

RULES: repost, don’t reblog! tag, and good luck!

TAGGED BY: tagged in spirit by @to-the-voiceless

TAGGING: any and all who want to do it but haven’t actually been tagged by anyone!

BASICS.

FULL NAME: Zaya Qestir

NICKNAME: none, really.

AGE: 29 by the end of Stormblood. 30-ish by the end of SHB? Haven’t figured out the time distortion thing.

BIRTHDAY: 17th of the 4th Umbral Moon (8/17)

ETHNIC GROUP: Au’ra; Xaelan

NATIONALITY: Nomad? From the Azim Steppe’s Reunion, if that helps.

LANGUAGE / S: Eorzean Sign Language, Xaelan (crude/unpracticed); understands most languages through use of the Echo

SEXUAL ORIENTATION: Bisexual

ROMANTIC ORIENTATION: Demiromantic

RELATIONSHIP STATUS: dating Thancred Waters??? unsure of status during post-SHB but getting there.

HOME  TOWN /AREA: Reunion, Azim Steppe

CURRENT HOME: A shared room in the Rising Stones or a shared house in the Mist; depends on where they are at the time of night.

PROFESSION: jeweler, weaver, gladiator of the coliseum, bard teacher (appointed reluctantly by Sanson after many a problem with Guydelot’s schedule), adventurer and warrior of light

PHYSICAL.

HAIR: Straight and somewhat below shoulder length. Most of their hair is black, but slowly changes to blue and white at the tips.

EYES: Dark blue; navy color? Light blue limbal rings that glow in the dark, too.

FACE: Sharp jawline accented by their scales, often covered with some royal blue facepaint similar to Arenvald’s own.

LIPS: Often chapped, but otherwise normal.

COMPLEXION: Ashen brown? Hard to describe bc of weird lighting everywhere they go.

BLEMISHES: None

SCARS: There’s a lot, and I might make a scar map at some point??? Major ones happen to be their legs and their left arm; the legs from Ifrit and the arm from Elidibus in Zenos’s body in 4.5

TATTOOS: None, no matter how much people think the facepaint is one.

HEIGHT: Taller than the average Au’ra, about 5’4

WEIGHT: about 135 pounds

BUILD: Muscular, especially due to their main fighting style requiring muscle literally everywhere. Fistfighting for money is no small feat.

FEATURES: Their scales are an odd color (think black and blue borealis dice, but as scales), and their horns definitely look a bit… ragged. Watching them fight will give the odd realization that lightning sparks in cobalt blue come off of them sometimes.

ALLERGIES: Some undetermined fish allergy. Higiri fed them some assorted sushi once and never did again, so the Scions (and themselves) have no clue what fish they need to avoid.

USUAL HAIRSTYLE: Tied into a loose ponytail at the back. Sanson often comments how they share a hairstyle, but it’s simply from need of clear vision when moving around for monk skills and attacks.

USUAL  FACE  LOOK: Stoic as all hell. Not used to making full-on facial expressions outside of conversation, so normally looks bored.

USUAL  CLOTHING: Tabards, cyclas, or generally something with flowy fabric that doesn’t restrain movement all that much. Metal boots and gauntlets/knuckles are also common, but not always.

PSYCHOLOGY.

FEAR / S: being the last one standing, change, losing their younger siblings/younger friends, spiders, breaking a promise with their mother.

ASPIRATION / S:  To have a proper adventure, and to inspire others to live their fullest lives.

POSITIVE  TRAITS: Devoted, comforting, slightly protective, carefree

NEGATIVE TRAITS: Easily angered, impulsive, emotional, stubborn

MBTI: ISFP-T (Adventurer)

ZODIAC: Leo, apparently? Sort of fits, if you look at it closely.

TEMPERAMENT: Some crazy blend between phlegmatic and choleric? Generally carefree and easygoing with friends and willing to spend a lot of patience on them, but unrelenting and downright frightening in serious situations, especially when involving Garlemald.

SOUL  TYPE / S: Server/Caregiver

ANIMALS: Birds and dogs.

VICE HABIT / S: Drinking, although the Echo does prevent it from having any effect whatsoever, so its more of a taste thing? Tends to sleep a lot when stressed, and often spends their leftover money on gemstones for their shared collection.

FAITH: Polytheistic; the Twelve and Nhaama are gods they generally believe in.

GHOSTS?: Yes, mainly because they’ve seen one.

AFTERLIFE?: Yes.

REINCARNATION?: Probably, with how they’re sure they’ve seen someone who was supposed to be dead before

ALIENS?: before becoming Warrior of Light, it would be no, but with the revelation of Elidibus on the moon and Midgardsormr and OMEGA‌‌ (ALIEN‌ ROBOT????) they aren’t so sure anymore.

POLITICAL ALIGNMENT: Does not care enough even though they are staunch friends with Nanamo. Didn’t care enough to try and challenge Oktai for the seat of Qestiri Khatun, certainly doesn’t care enough to take a political stance in Eorzea.

EDUCATION LEVEL: Barely any; just enough to read letters written in Eorzean and faintly Ishgardian (courtesy of Alphinaud and Haurchefant).

FAMILY.

FATHER: there was one, once, but he’d rather he be forgotten in pursuit of a happier future. Zaya remembers him as Baatar, but they don’t remember if that was actually his name.

MOTHERS: Erhi, Odgerel.

SIBLINGS: Oktai (older brother), Taban (older sister), Sarnai (sister), Delger and Tuya (fraternal twins)

EXTENDED FAMILY: any of the Scions (former or current) or their fellow Warriors of Light, if we’re talking found family. House Fortemps, Aymeric, Estinien, Sanson, Guydelot, Sidurgu, Rielle, and all of the Qestiri tribe are up there too, but you know, that’s kind of a lot of gifts to be sending around during Starlight. (zaya totally sends them all gifts anyways.)

NAME MEANING /S: Zaya means fate in Mongolian, which all of the other Xaelan names seem to be based on. Their previous name, Dzoldzaya, meant light of fate.

HISTORICAL CONNECTION?: Recorded history on the Azim Steppe is easily lost, but if asking around the different tribes, one could learn about a rather prominent Qestiri warrior whose image is painted in some of the caverns nearby where much of important, unforgettable Xaelan history is recorded by the Gharl, swathed in blue cloth. In the days of Amaurot, there was one standout Amaurotine who shared a love for lightning and birds…

FAVORITES.

BOOK: They don’t know enough Eorzean to read a full book, not even a children’s book. The Echo doesn’t help with reading. Urianger has read a book of myths and legends that turned out to be true to them, however, and that has been their favorite for a while. They’ve been considering asking him to read more for them, but that’s been placed on hold after the events of the First and following Mt. Gulg.

DEITY: Nhaama, or Rhalgr, if talking to someone who thinks ‘what’s a Nhaama’ when they mention her.

HOLIDAY: Starlight Celebration. Something about the festive mood always makes them happy.

MONTH: August (4th Umbral Moon)

SEASON: Summer

PLACE: On the Source, Reunion in the Azim Steppe just because interacting with other tribes is rather fun. On the First, Il Mheg all the way!

WEATHER: Clear nights where they can trace the constellations, but it isn’t too cold to need a blanket.

SOUND / S: Excited chatter, harp, singing, small hammers clinking against metal.

SCENT /S: Rain, fresh wood, the air in Gridania, light perfume, Syhrwyda’s food.

TASTE /S: Snurbleberry, honey, most Doman seafood, buuz.

FEEL /S: Soft and smooth fabrics, cold metal, the grip of someone’s hand around theirs, wind blowing through their hair on a warm day.

ANIMAL /S: Yol, chocobo (birds!).

NUMBER: 17, for their nameday and the first year they spent in Eorzea

COLORS: Cobalt blue and indigo, pale gold, soot black.

EXTRA.

TALENTS: Extremely good when working with cloth or metal; even more so when tinkering little trinkets. Interestingly enough, very good at playing flute and harp without much practice. Expert at pulling a person’s true emotions out with simply body language.

BAD AT: Sneaking around/stealth. Do not, under any circumstance, give them a job involving secrecy or stealth unless you want it to fail. Speaking/reading is also pretty horrible, due to how they were raised. Also bad at taking change or lies well.

TURN-ONS: Loyalty, bravery despite all odds, kindness and love even when it would be easier to be otherwise, being able to understand other beliefs, and a love of freedom or new experiences

TURN OFFS: Lying to their face knowingly, extreme greed, lack of self-worth, anger for no good reason

HOBBIES: making music with Guydelot and Sanson, attempting to keep a journal, idle tinkering, dancing, gardening

TROPES: Good is Not Soft, Hope Bringer, Magnetic Hero, Omniglot, The Power of Friendship, The Quiet One, Silent Snarker, Dark is Not Evil, Five Stages of Grief, Horrifying Hero, Magic Music, Warrior Poet, Dance Battler, Warrior Monk, Determinator, Pintsized Powerhouse, Pragmatic Hero (don’t let me stay on TV‌tropes pls)

QUOTES: have a snippet of some writing?

Scrawled onto a piece of paper underneath his arm in Thancred’s handwriting and marked with Zaya’s name reads, “Your words, no matter how I react, do not change how I love you all.”

MUN QUESTIONS.

Q1: If you could write your character your way in their own movie,  what would it be called,  what style would it be filmed in, and what would it be about?          

A1: Honestly, I think there would be two movies that could include Zaya; some comedy musical revolving around Zaya’s bard lifestyle while placing their active lifestyle in the background (called “A Bard Knock Life” bc i think puns are cool) or an action drama framed around Zaya and the Scions living some sort of high fantasy/DND type adventure bc I love that stuff called “The Unbroken Thread”. (THAT‌ QUEST‌ NAME STILL GETS‌ ME)

Q2: What would their soundtrack/score sound like?          

A2: Something featuring a flute, probably. I got attached to Zaya playing the flute being a former flute player myself. (I only wish the oboe performance sound bank clicked with me a little more…)

Q3: Why did you start writing this character?          

A3: Originally, Zaya wasn’t meant to exist. I was literally planning on just creating A’dewah, Syhrwyda, and maybe Lumelle and Elwin in different roles. Then the Au’ra came out; I‌ used my free Fantasia from the sub rewards just to be an Au’ra (I was a miqo’te before; shh, i was still babu who liked cats) and suddenly Zaya started being formed as Menphina Jewel. Before I knew it, that Menphina Jewel grew a whole backstory and a new name and new friends (Azim Steppe arc of Stormblood MSQ? Final nail in the coffin.) that slowly took over the previous two Warriors as the focus of my attention. I wasn’t even supposed to keep playing FFXIV‌ past HW, dude. I had like a million other things to be doing at the time, but here I am, lying in my grave 3 years later still attached.

Q4: What first attracted you to this character?          

A4: They’re (mostly) mute. I really wanted to explore what it’s like to not be able to talk and only converse in body language, but then I discovered that might be a problem, so my interest in sign language collided with Zaya’s backstory. It also helps me work out a personality without them sounding/looking too much like what I think is Basic Story ProtagTM like I tend to do on accident (see A’dewah and Valdis’s dialogue sometimes.)

Q5: Describe the biggest thing you dislike about your muse.

A5: They can’t really speak. Funny how the thing I like most is also the thing I hate most. It’s very frustrating when I want them to convey something and then they can’t without using actual words and a voice because I haven’t got a clue on how to convey that through body language. How in the world do you convey ‘I feel like I’m doing arcanist calculations when you speak’ in nonverbal language??? I have no damn idea and every attempt looks like I meant something else.

Q6: What do you have in common with your muse?          

A6: The snark, man. I have friends constantly commenting on how I’ve made a burn without me realizing I’ve done so, and it’s hilarious. The love for music also carried over big time, especially after discovering how fun the bard NPCs were to write and how they’d fit into Zaya’s relationship web. (they’re totally the more comedic side, but I love Guydelot and Sanson anyways.)

Q7: How does your muse feel about you?          

A7: No clue, dude. Maybe thinks I’m boring? I don’t tend to want to drastically change things or look for new adventures; the biggest leap I’ve taken in two years is probably changing to a reed instrument from flute, and even then I don’t have to change key when‌ I read music, so it’s not that big a deal.

Q8: What characters does your muse have interesting interactions with?        

A8: Urianger and Lyse, maybe? I like the exploration of repairing relationships after something that might have ended another, weaker bond. It’s also kinda fun trying to see how Zaya would react; they’re a lot more rash than I am in real life, and that’s honestly saying something. Alisaie and Alphinaud, however, are the most fun just because I know what I’m doing when I write them, and it’s funny to see how Zaya reacts (or has a lack of reaction) to their dynamic. Guydelot and Sanson fall into another category of ‘dear god I simultaneously love and hate these two’, while Thancred, Y’shtola, Urianger, Syhrwyda, Duscha, and Ryne fall into some sort of strong found family vibes that just get me everytime I think about it

Q9: What gives you inspiration to write your muse?        

A9:…Doing job quests or side story quests or even MSQ I haven’t caught up on yet. Watch as I slowly rewrite as many MSQ‌ and job quest scenes as I can in any of my Warrior of Light’s viewpoints. (currently chiseling away at some backstory/before they were Warriors stories after reading too deep into the race/subrace text and lore keep an eye out LOL-)

Q10: How long did this take you to complete?          

A10: A day or two; don’t remember when I began. It was probably when I was procrastinating on homework, though. I didn’t post it until a week later whoops.

[scottymcgeesterwrites]

Doctor Who and Murray Gold

      A couple weeks ago, I was driving a friend and as usual, I had movie/TV soundtrack music playing in my car. I had a mix CD of some stuff but it included music from Doctor Who Series 5. My friend then said, “What’s up with the Looney Tunes music?”

           He had said it rather condescendingly, and I found it ironic that he was a diehard Doctor Who fan and was bashing the score not knowing it was from Doctor Who.

           I told him what it was from and he said, “Oh.”

A long pause after that and then, “I hate music without words.”

           That hit me square in the stomach. Reminds me of the scene in La La Land when Ryan Gosling goes to Emma Stone, “What do you mean you don’t like jazz?!”

           Movie and TV scores are often overlooked. Film score is a very niche circle and only the most popular tunes are recognized by the social consciousness. John Williams single-handedly dominated the film music industry - he’s a household name. After him, maybe Danny Elfman. After him, well, you have to think harder. Despite knowing the main themes, people forget or don’t care to look at all the other details, all the other motifs for chase sequences, love themes, side characters, and everything in between.        

A film score is really the soul of the movie or TV show it’s playing for. Like a soul, it’s relatively invisible except for the parts people like the most. The score to Series 5 of Doctor Who sounds like Looney Tunes here and there because of Matt Smith’s portrayal of the Eleventh Doctor – someone who is offbeat and quirky. Most fans will recognize the theme I Am The Doctor, which Murray Gold, the composer of modern Doctor Who since 2005, created specifically for Eleven.

Ten had a theme too. Ten was much more adventurous and swashbuckling, so his theme reflects those traits (1:53 onward).

Nine also had a theme, a secret, wounded theme that whispers like a haunting melody – this incarnation came back from the Time War (This theme developed into a general Doctor theme).

         People remember Eleven’s theme the most because Murray Gold played with it more, so we heard it so many times. BBC also liked to throw it around a lot in advertisements.

           The way I see it, with Modern Doctor Who scores, there’s really pre-Series 5 and post-Series 5.

           In the former period, Modern Doctor Who was a bit rocky, what with Christopher Eccleston coming and going. Murray Gold didn’t seem to have enough time to settle in with Eccleston. Therefore, Series 1 and 2 scores are together in one album. The released albums in pre-Series 5 are also much more different than post. Series 1 through 4 are missing tracks played on episodes – my favorite being the “window miming” scene between Ten and Donna Noble from the episode Partners in Crime.

          Film score fans try to rip unreleased music from the show or movie and post it on YouTube. That’s a thing we do. When there’s music we loved hearing on screen but it’s not on the official soundtrack, we go through crazy lengths to try to fish for that music. We rip the scene from a DVD, transform it into an audio file, then painstakingly try to edit out the sound effects in Audacity or some other audio editing program. I know because I’ve attempted this myself since I really want the full chase music in the jungle from Indiana Jones and the Kingdom of the Crystal Skull. The result ends up being a Frankenstein mesh of what they gave us in the soundtrack and what was heard on screen, with some sound effects or dialogue in the distance that we couldn’t erase with our amateur ability.

The soundtracks from Series 5 onward have so much more music and are much more robust, like full-fledged movie scores. Every track is included, even if it’s a 40-second cue. This kills me too in a way because there are pieces that are SINFULLY short, such as “Bah Bah Biker”, from the episode The Bells of St. John.

     For most of the show’s history, Doctor Who’s musical score has really had only its theme song as the most iconic tune. The rest of the score for Classic Doctor Who mostly comprised of incidental music, which is much different from a film score. Incidental music is less melodic and more atmospheric. When you listen to the music playing in some Classic Doctor Who serials, you hear dull synthesizer tones, adding to the cheesiness of the show.

           The music changed drastically with Modern Doctor Who. Modern filmmaking instills character-driven stories and more drama. Classic television shows were more episodic and self-contained; now everybody is all about watching a “series” with longer story arcs and development. We want to care more about the characters, not just the adventures. As such, the stories demand a different kind of score.

           A while ago, I mentioned how Doctor Who was one of those shows where the main theme never actually shows up in any of the scores. An interview I watched with Murray Gold actually explained it briefly. When they hired him in 2004, the producers didn’t want to change the show’s iconic theme but they described it as “too lonely” and outdated for the modern storytelling they have in mind. Thus, Gold ended up creating individual themes for each of the Doctor’s incarnations. They wanted a more vibrant score and they got exactly what they asked.

           There’s a theme for Gallifrey (I have to post the raw links now because Tumblr won’t let me embed more videos)

https://www.youtube.com/watch?v=tzAAL1XeSLs

           A theme for Rose:

https://www.youtube.com/watch?v=bPWDUMzJ1i4

           Clara:

https://www.youtube.com/watch?v=IqAblY4tWJo

           The Cybermen:

https://www.youtube.com/watch?v=H5BfyzJm_zY

           Donna Noble (one of my favorites):

https://www.youtube.com/watch?v=2Sy0YuT6OLU

           And the thing I realized about Murray Gold’s compositions throughout his entire career (he has done Vanity Fair in 1998 and Queer as Folk in 1999, which was written by Russell T. Davies, who then went on to revive Doctor Who and that’s how Murray Gold got involved) is that he’s so versatile. One moment you can be listening to what feels like a score to a fantasy film when listening to the theme of Gallifrey and then the next there’s this samba-like beat when Donna Noble comes on screen.

           But the other thing to remember is that the film score is reflective of the story – and like Gold said himself, Doctor Who takes you on a wild ride where one minute you’re feeling up and then the next you’re feeling down. Murray Gold is able to keep up with the ride, and I don’t think many other composers can do what he has done.

           Over the years of listening to film music, I’ve been able to recognize who the composer is when watching a new film. Danny Elfman’s music broods a lot – he uses oboes and clarinets and strings.

John Williams has this distinctive chase music.

https://youtu.be/j8hOYJ38Xcc

Alan Silvestri is like a cheap John Williams - nice themes but he repeats the same rhythm over and over.

https://youtu.be/6A8WgfNZOhM

John Powell likes to channel Spanish Flamenco in action sequences.

           But I actually have to say that I think I’d be unable to recognize Murray Gold only because he’s done so many new things that it’s very difficult to pinpoint which instruments he likes to use specifically or what beat or tempo he’s accustomed to. It’s quite amazing really. Every time I buy a new Doctor Who album I think “This is probably when Gold finally gets stale.” NO. Never. Somehow, he fleshes out something completely different. The Twelfth Doctor’s theme is so radically different from the melodic tunes of the previous Doctors’ that it’s like a totally different composer was at the helm. It actually sounds more like Hans Zimmer from one of Christopher Nolan’s Batman films.

https://www.youtube.com/watch?v=sy3Z5JHQ-yo&t=336s

           Which, by the way, Gold has expressed his concerns about Zimmer, just like I have. (I think we’d get along nicely.) He once said that he frequently overhears music students say they want to do something like Hans Zimmer – don’t. Do you. Do what comes to you.

           You see, to me, there are really only two ways to do film music – classical and minimalist.

           Classical is something like John Williams. There’s an orchestra. There’s a clear, distinct melody. A bad guy appears on screen so the bad guy’s theme plays. Chase music. Sad music.

           Minimalist is Hans Zimmer. Very few instruments. The melodies are shorter and more drawn out. A song sounds amazing due to its effect, not through its notes. A given theme is really only like four notes long but played repetitively at different speeds and volumes.

           Then there’s an in-between - which I would call “Contemporary Instrumental” - which encompasses many composers but very few composers can show as much versatility as Murray Gold has. 

           John Williams has and always will be a classical composer. You will never in a million years hear him compose a fully synthetic score. The only instance of him using any kind of synthesizer was in Star Wars Episode V: The Empire Strikes Back, when Luke Skywalker fights his vision in the Dagobah cave. Film music fans hated it and found it awkward and jarring. Never again.

           So, alas, Murray Gold is leaving Doctor Who. I actually wondered when he would leave and when I considered writing this blog piece about him, I double-checked on Google and boom – there it is. Series 10 is his final Doctor Who series.

           I wonder if the new composer will keep his motifs – such as Gallifrey and the Cybermen and so on. What will the Thirteenth Doctor’s theme sound like? Will they even make a theme for her? They better. Changing composers can be exciting but also unfortunate, as many fans of film music have experienced. The Marvel movies are a perfect example – there have been three different composers for all three Iron Man films – none of which use the same themes. Producers of the Marvel movies care little about the film scores and more about dishing out the movies themselves. The only recurring theme is “The Avengers” by Alan Silvestri, which, of course you should keep that one consistent.

           At the same time, maybe it’s the perfect time for Murray Gold to sign off. I would have hated to see him reach a point where his work sounded redundant or stale. In my honest opinion, John Williams hasn’t composed a memorable score since the first three Harry Potter movies. The scores to The Force Awakens and The Last Jedi pale in comparison to the rest of Star Wars. Consider the great epic composition Williams composed to accompany The Battle of Yavin in the original 1977 Star Wars:        

https://www.youtube.com/watch?v=aHQrcyerVQQ

Now compare that to the Starkiller Base battle in The Force Awakens:

https://www.youtube.com/watch?v=xJzuanMUuS4

It’s like he didn’t even try anymore.

It’s just a 2 and a half minute track of the Star Wars theme with strings in between.

That’s it.

But then again - like I said before - the story itself also affects the score. It may have sounded like Williams didn’t try but neither did the movie (heyooooo!). The Battle of Crait track from The Last Jedi is better but it’s mostly a string of character motifs followed by the classic Tie Fighter Attack motif - nothing really brand new.

So tl;dr, it’s sad to see Murray Gold leave but I’d hate to see him go stale in Doctor Who. He left behind an exciting repetoire and created a whole new dimension to the show and helped express it. I wonder what he’ll do now, if he’ll even move to the silver screen.  

[thehockeyhaus]

OMGCP Orchestra!AU

Hello, yes, this isn’t completely complete yet but I’m tired and wanted to share this before I slept cause I just wrote a lot on it lol.

It’s not orderly, or well formatted, but its semi chronological and yeah. It’s a lot so under the cut :P I did minimal research on orchestras, my main experiences stem from band, and I wasn’t even in that I just had lots of friends in it, i photographed it for yearbook, and my bro is in it. Feel free to correct me if something is horribly, glaringly wrong.

First, what instruments the boys play/what their roles are

Instruments:

Jack - Violin

(Mcfuckin first chair you know it)

Shitty - Oboe

(like third chair or so)

Johnson - Harp

Lardo - Manager/Location Assistant

Ransom - Percussion

Holster - Percussion

(imagine them playing like the Marimba together. They’re so in sync it’s scary

Murray: Are you sure you two met just this year? R+H: *at the same time* Yeah, why?)

Bitty - Flute (and Piano - which is his stronger point)

(Back up flutist, and does dabble in other instruments *except for strings, he hates cause he can’t master*, but is here for Piano,)

Dex - Trumpet

Nursey - French Horn

(Dex hates French Horn players almost as much as he hates Sax players. He thinks they’re egotistical)

Chowder - Harp

Ollie - Sax

Wicks - Bassoons

----

So I debated for the longest time on their ages. I almost did a Youth Orchestra thing, like ages 16-19, but I decided nah. It’d still be Samwell in this AU. With that info, here we go!

Bad Bob was in top orchestras worldwide (like the Boston Symphony Orchestra and Chicago Symphony Orchestra and the Vienna Philharmonic and the top of all - the Royal Concertgebouw)

(Shitty: Literally the best violinist ever??

Bits: I never was good at string instruments, so I didn’t pay attention to string players!)

Bitty’s biggest fear of messing up gives him hella stage fright. Once he settles into the group, like he’s chill at rehearsal, but the second that concert hall is full. Man, their first performance, Bitty kind of passes out.

Jack is so mad and like seeing Jack mad doesn’t help this anxiety and like Jack yells at him  afterwards and its a DealTM

Jack doesn’t quite understand why he froze up because he’s just focusing on how lucky Bitty is. Like Bitty makes the flute and other stuff look easy. And he’s just like “This is so much fun!” where as for Jack, for the past couple of years, it’s always been work. Like it’s been serious, minimal distractions, focused, and then this fuck waltzes in like “Hey ya’ll. I like pie, men, and music. Let’s have a good time!” And everyone’s so taken by him and he doesn’t get it and he’s very attracted to him but he doesn’t have time for that. It’s a lot of emotions for Jack rn.

(Jack: He literally got accepted into Juilliard. He could’ve gone anywhere and yet he chose here!

Shitty: So did you Jack! Juilliard accepted you -

Jack: It’s like he was sent here to spite me.

Shitty: Yep. That’s it. You’ve figured it out) 

Also, before Jack had a thing (overdose similar. Something. Like maybe to a dif extent? Like he was using hallucinogens to get pieces done. Like he composed a lot as a kid, but he focused on playing mostly, and as he got older Kenny introduced him to like mind altering drugs and he actually did get semi addicted and then he had a bad crash or something and slightly ODd cause he was using them a lot and also anxiety medicine and like it was helping him compose until it wasn’t and he’s had this like writer’s/composer's block since but then in comes Bitty and suddenly Jack realizes Bitty is helping him write and that makes him want to help Bitty *plus talks from Shitty about how he’s a normal person and not everyone is out to get you* and he helps Bitty and for a bit he can write, and then the songs turn like sappier especially after Jack hears Bitty play piano and sees how he is around the piano, like he caresses the ivory like it’s the most precious thing in the world, and he’s so relaxed and happy around it)

(Jack: *thinks* I want him to look at me like that.

Jack: Wait.)

The friends in the orchestra rent a house together. Jack has his own apartment. Shitty’s normally the only one to like visit him, and usually Shitty stays there, and the group does like Jack, they just think Jack doesn’t like them (but they defend Jack all the time even still)

Jack starts coming over to the Haus more (which is what Shitty calls it) and he starts coming out of his own shell and like semi realizing he doesn’t need to keep to himself, it won’t effect his music. Conductor actually pulls him aside to tell him that he’s been playing so well recently and like really getting into the pieces emotionally and its great.

Like everyone is so proud of Jack ok.

Bitty is very close to Shitty cause they’re in the same section, and also knows Ollie and Wicks pretty well.

Shitty is first person he comes out to.

Still parties sometimes, but since they’re off campus, and its a house they rent with a landlord, they’re smaller but still lots of fun.

Trivia nights. Ransom and Holster like to host cause they think of the weirdest questions.

Musical trivia.

Farmer’s on the Debate Team. *shrug* so is Camilla. Powerful, smart women, who also play volleyball on a rec league during the summer. Fmu

Lardo still an artist but also really loves like soundtrack stuff. Maybe she’s in audio in the film program and is wanting to be a composer for film scores.

Kent is already graduated from Juilliard or an LA orchestra school, and is playing in the San Francisco Symphony Orchestra