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You have reached Her Most Royal Majesty Nima, by the Grace of the gods, of Eros and the Sea of Samorrah and Her other Realms and Territories Queen, Defender of the Faith.
It is common knowledge that the queen enjoys casual correspondence by mail and will answer most letters of substance that come across her desk.
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It is common knowledge that the queen enjoys casual correspondence by mail and will answer most letters of substance that come across her desk.
In person,
Have a knock on your door! ]
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Going to it, she throws the six deadbolts, but leaves the wards and the chains. She pulls the door open so she can peer through the crack.]
G-gokudera!
[She closes her door, negating the wards and undoing the chain locks to let him in.]
W-why are y-you h-here?
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He'll draw in a breath and spreads his hands a little awkwardly, hoping that the hallway will stay empty while he's launching into this explanation. ]
Well, you were clearly upset about the fact that I sent you sheet music. It was meant to be a gift. Like you said... after the hunt for friends and lovers. [ Awkward neck rub. ]
You only send music when someone dies?
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As soon as the door is unlocked, she ushers him in, shutting it and doing up most of the locks behind him]
M-music played b-by o-one person, y-yes. M-most of o-our m-music a-are duets, n-not solos.
[She hunches her shoulders, looking a bit mortified that she's ruined his present.]
I'm... I d-didn't mean... I'm s-sorry.
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No, it's... [ He lifts his hands in a placating gesture, then decides to place one of them on her shoulder. ] It's fine. I think, perhaps, we've run into a cultural difference here.
Music is played in funerals in my world as well. But it's mostly a case of certain type of music.
Uh... do you like music though?
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She nods, smiling slightly.]
Yes, it s-seems that way. And, y-yes, I l-like music. W-we only play s-solo pieces at f-funerals. H-hundreds of y-years ago, composers were c-commissioned to write s-songs that reflected a person's life. We don't do that so much anymore. But the sentiment r-remains. M-most of our m-music is f-for two.
[A faint flush stains her cheeks, and she gives him a smile that's reminiscent of the hunt, the woods.]
Or m-more. D-do you play the piano?
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He blinks, considering this. Then looks up at her curiously and immediately looks away again with a hint of color upon his cheeks. Then back at her with a small but very genuine smile. ]
Yes. I do. I played the piano before I could walk properly. My mother was a very skilled pianist.
Do you play any instrument?
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P-piano, too. A bit of the h-harp. I can p-pick at a violin, but n-not v-very well.
[She holds out a hand to him.]
W-would you l-like to play with me? [A flush darkens her cheeks.] A d-duet? [That doesn't help.] A-at the p-piano, I m-mean. [Not that she'd say no to any other kind of duet.]
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I would like that, [ he says simply. It's not like he would have any kind of objections to a duet of any sort with her after all. ]
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I-it's been a l-little while. I'll b-be rusty.
[They're in the music room less than ten minutes later. Regina goes rifling through the seat to find a duet that's simple enough for them to sight read, pulling out something at last.] D-does this look e-easy enough? [She passes the music to him as she settles at the bench, fingers fluttering lightly over the keys.
It's been... at least a year. But she can still read the music well enough. Thinks she can manage to play well enough.]
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He reads the notes, following the melody easily with a hum under his breath as he takes a seat at the piano, picking the lower end and leaving enough space for her to take a seat beside him. ]
What kind of music do you like? [ he asks conversationally as he sets the sheet music on the rack and finds a few scales with his fingers just to warm it up. ]
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Bhadi. Prayer songs. But... s-swing music. Jazz. I l-like m-music with spirit, and th-then some s-slower songs. Ballads.
[She inclines her head toward the music, fingering the basic melody.]
Th-this is a sad l-love song. About t-two women who loved the same witch b-but didn't love each other. R-ready?
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Really? Did the witch love them, though? [ he asks as he squints at the time signature at the start of the notes before counting the one empty bar for them under his breath before his fingers are set on the keys, to give it a rhythm and speed. ]
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She loved them b-both, v-very much. B-but because they h-hated each other, they w-wanted her to ch-choose. They p-pushed and p-pushed, always demanding.
[She speaks in time with the music, the tone of her voice following the melody.]
They a-asked her to s-say which g-gave her m-more power. W-which was the b-better lover. Sh-she could not s-stand it, s-so she th-threw herself from a l-lighthouse.
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That's what music is about, for him, a way to express what comes from inside. It's a bizarre case of almost voyeuristic display to tap into a portrayal of another person's emotional expression to find his own way of feeling what is said through the music and hold it out for anyone caring to listen to tear into. Gokudera is too earnest to hide what the music does to him, his brows furrowing when the melody hits a minor chord, his face smoothing out when the harmony tilts more into major chords. ]
What a tragedy, [ he says quietly and while most people would feel no connection to just the bare bones of a story, his voice is genuinely sad, tapping into the music that tells a richer story. ] What happened to the two after?
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Th-their kingdoms w-went to war. They were the q-queens of t-two City States. They destroyed each other.
[Her fingers still on the keys, the melody entirely Gokudera's, low and rich.]
That is Koriim, in winter, as shavaesda. All genders and no gender, everything and nothing, the sum of all things and the absence of them, too. Koriim wept over the battlefield and the dead. No one survived the war. The salt of Koriim's tears burned the earth, and n-now there's n-nothing but desert there.
[Now, she plucks lightly at her part, adding in a soft harmony.]
So we are r-reminded to be honest and g-gentle in our l-love, because w-we can destroy our w-world.
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What are the names of these queens and witches? [ he asks quietly as they join their melodies again, intertwining. He will look up the story later in the library. ]
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[Her fingers slip over the keys, soft and gentle, bringing the piece into its final measures as it grows softer, sadder, and more introspective.]
H-her lovers, the q-queens, were Madreia a-and Lindell.
[Fingers stilling on the keyboard, she falls silent. The last, haunting notes are his, and she listens to them with somber respect, eyes closed, head bowed. When those fade, too, she murmurs a phrase in Erosian, a soft sort of prayer.]
W-we say that f-for respect to s-souls that h-have gone on. It m-means... m-may they f-find their n-next l-life happy and full of love.
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A sad story but beautiful music and beautiful teaching.
[ He reaches to take her hand and squeezes it gently. ]
Thank you.
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You're w-welcome. W-we should play a-again one day. I d-don't have a lot of p-people to play with me anymore. I'm g-glad I l-learned y-you do.
[Her lips purse, playful.]
And I'll even learn your f-funeral song.
[The brightness in her eyes says she knows it's not a funeral song, that she's just teasing him.]
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We can make our own music, [ he says as he guides her hand back on the keys and picks out an easy melody with his lower register, waiting to see if she would like to accompany him. ]
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Her brows lift as he sets her hand to the keys.]
I-improvising?
[She hesitates a moment. His melody is... strange to her. She taps E.]
F-from here, y-you play... [Her nose scrunches, and then she hits F-sharp and G-sharp.] B-but we play th-this. [She plays F and G natural.] Y-you see? It m-might be hard. It might s-sound... terrible.