✨THE [STANDARD MODEL]✨
🎶BASIX🎶


-as of [17 OCTOBER 2026]-


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*NAVIGATE TO [BOTTOM]* —>


XDUMPX


wordpaste


chordpaste


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-QUADRATIX-


-FILE PATHS-


-PEER REVIEW-


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-[PRO TOOLS] SESSIONS-


-[PREMIERE PRO] PROJECTS–


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-ZYX-


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*SOURCE CODE* —>


~/Library/Mobile Documents/com~apple~CloudDocs/-FINAL CUTS-/-SOUNDCLOUDS-



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-[SONG PROFILE] LINK-


-[SONG BASIX] TEMPLATE-


-[SONG OUTLINE] TEMPLATE-


-[SONG BASIX] TEMPLATE-
(HEADER)


-[SONG BASIX] TEMPLATE-
(FOOTER)


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-MODUS OPERANDI-


“JOGAN NOTATION”


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*PLACEHOLDER* —>


XYZ


.


*5 SECTIONS* —>


“SETTINGS”


“CHAPTERS”


“OUTLINE”


“DUMP”


“SUPPLEMENTALS”


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XYZ

.


*SETTINGS* —>


-KEY-


-TIME SIGNATURE-


-BPM-


-BEAT DURATIONS-
(ARCHIVES)

-[60] / [BPM]-


–[1 BEAT] = [XXX SECONDS]–


-[XXX BARS] / [XXX BEATS]-


*DURATION* —>


-[# MINUTES] / [# SECONDS]-


-[SPEX] TEMPLATE-

-PASTE “SCREENSHOT FRAME” HERE-


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*SPEX SCREENSHOT* —>


–[KEY]-

–[#:#]–

–[# BPM]-

.

–[# BARS] / [# BEATS]–

–[1 BEAT] = [# SECONDS]–

-[# SECONDS]-

–[# MINUTES] / [# SECONDS]–


*POST TO THIS [FILEPATH]* —>

~/Library/Mobile Documents/com~apple~CloudDocs/-FINAL CUTS-/-SOUNDCLOUDS-/-MY DEAR BROWN-/-POCKET SCORES-/1 -SPEX-


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XYZ

.


*OUTLINE*


-[###] SECTIONS-


-[###] PARTS-

([INTRO] / [X#] / [X#] / [SOLO] / [OUTRO])


-INTRO-


-X#-


-X#-


-X#-


-X#-


-OUTRO-


*POST TO THIS FILEPATH* —>

~/Library/Mobile Documents/com~apple~CloudDocs/-FINAL CUTS-/-SOUNDCLOUDS-/-MY DEAR BROWN-/-POCKET SCORES-/3 -LYRIX-/-OUTLINES-


.


*SECTIONS* —>


-INTRO-
(# BEATS)
(# SECONDS)
([0:00] – [#:##])


-X#-
(# BEATS)
(# SECONDS)
([#:##] – [#:##])


-X#-
(# BEATS)

(# SECONDS)
([#:##] – [#:##])


-OUTRO-
(# BEATS)
(# SECONDS)
([#:##] – [#:##])


*POST TO THIS FILEPATH* —>

~/Library/Mobile Documents/com~apple~CloudDocs/-FINAL CUTS-/-SOUNDCLOUDS-/-MY DEAR BROWN-/-POCKET SCORES-/2 -PARTS-/-BASIX-


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XYZ

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*6 [BAR BREADOWN] TEMPLATES* —>


-1 BAR-


-2 BARS-


-3 BARS-


-4 BARS-


-8 BARS-


-12 BARS-


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*# PARTS* —>


-INTRO-

(# BARS / # BEATS)


-BAR 1-

[X] [X] [X] [X]

(#) (#) (#) (#)

-BAR 2-

[X] [X] [X] [X]

(#) (#) (#) (#)

-BAR 3-

[X] [X] [X] [X]

(#) (#) (#) (#)

-BAR 4-

[X] [X] [X] [X]

(#) (#) (#) (#)

-BAR 5-

[X] [X] [X] [X]

(#) (#) (#) (#)

-BAR 6-

[X] [X] [X] [X]

(#) (#) (#) (#)

-BAR 7-

[X] [X] [X] [X]

(#) (#) (#) (#)

-BAR 8-

[X] [X] [X] [X]

(#) (#) (#) (#)


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(TENOR C5)

-# SYLLABLES-

*reference notes* —>

(X# X# X# X#)

(word word word word)


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-X#-

(# BARS / # BEATS)


-BAR 1-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 2-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 3-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 4-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”


-BAR 5-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 6-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 7-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 8-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”


-BAR 9-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 10-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”


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-X#-

(# BARS / # BEATS)


-BAR 1-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 2-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 3-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 4-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”


-BAR 5-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 6-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 7-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”


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-X#-

(# BARS / # BEATS)


-BAR 1-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 2-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 3-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 4-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”


-BAR 5-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 6-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 7-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 8-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”


-BAR 9-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 10-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”


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-X#-

(# BARS / # BEATS)


-BAR 1-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 2-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 3-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 4-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”


-BAR 5-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 6-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 7-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 8-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”


-BAR 9-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 10-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 11-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 12-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”


.


-SOLO-

(# BARS / # BEATS)


-BAR 1-

[X] [X] [X] [X]

(#) (#) (#) (#)

-BAR 2-

[X] [X] [X] [X]

(#) (#) (#) (#)

-BAR 3-

[X] [X] [X] [X]

(#) (#) (#) (#)

-BAR 4-

[X] [X] [X] [X]

(#) (#) (#) (#)


-BAR 5-

[X] [X] [X] [X]

(#) (#) (#) (#)

-BAR 6-

[X] [X] [X] [X]

(#) (#) (#) (#)

-BAR 7-

[X] [X] [X] [X]

(#) (#) (#) (#)

-BAR 8-

[X] [X] [X] [X]

(#) (#) (#) (#)


-BAR 9-

[X] [X] [X] [X]

(#) (#) (#) (#)

-BAR 10-

[X] [X] [X] [X]

(#) (#) (#) (#)

-BAR 11-

[X] [X] [X] [X]

(#) (#) (#) (#)

-BAR 12-

[X] [X] [X] [X]

(#) (#) (#) (#)


-BAR 13-

[X] [X] [X] [X]

(#) (#) (#) (#)

-BAR 14-

[X] [X] [X] [X]

(#) (#) (#) (#)


.


-X#-

(# BARS / # BEATS)


-BAR 1-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 2-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 3-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 4-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”


-BAR 5-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 6-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 7-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 8-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”


.


-OUTRO-

(# BARS / # BEATS)

(REPEAT x #)

(# BARS / # BEATS)


-BAR 1-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 2-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 3-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”

-BAR 4-

[X] [X] [X] [X]

(#) (#) (#) (#)

“…word word…”


*POST TO THIS [FILEPATH]* —>

~/Library/Mobile Documents/com~apple~CloudDocs/-FINAL CUTS-/-SOUNDCLOUDS-/-MY DEAR BROWN-/-POCKET SCORES-/2 -PARTS-/-BARS-


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XYZ

.


*LYRIX* —>


-INTRO-

(# BARS / # BEATS)

(instrumental)


-X#-

(# BARS / # BEATS)

X

X

X

X


-X#-

(# BARS / # BEATS)

X

X

X

X


-OUTRO-

(# BARS / # BEATS)

-COUNTERPOINTS-

X

X

X

X


*POST TO THIS FILEPATH* —>

~/Library/Mobile Documents/com~apple~CloudDocs/-FINAL CUTS-/-SOUNDCLOUDS-/-MY DEAR BROWN-/-POCKET SCORES-/3 -LYRIX-/-SECTIONS-


.

-DUMP-

-ZYX-

.


XYZ


.


*ALTERNATE LYRIX* —>

XXX


*ALTERNATE TITLES* —>

XXX


*VISUALS* —>

XXX


.


*[SONG DATABASE] LINX* —>


-THE LONG RUN-


-SIGNATURE SOUNDS-


-PAST MASTERS-


-WORKS IN PROGRESS-


-COLD CUTS-


.


.


*🎸✨CHORDS✨🎸*

-[CHORDS] TEMPLATE-


*🎼✨WORDS✨✍️*

-[WORDS] TEMPLATE-


🧫🥼🧪✨NOTES✨🧪🥼🏋️‍♀️

-[NOTES] TEMPLATE-


(open these 3 links in 3 new windows)

Ithen use ‘spectacle’ to evenly split screen into 3rds)

(chords / words / notes)

[OPTION] + [CONTROL] + [LEFT/RIGHT ARROWS]


.


-SPOTIFY EMBED LINK–

-SPOTIFY SIGN-IN LINK-


-[DISTRO-KID] PROFILE-

-DISTROKID TEMPLATE-

-[DISTRO-KID] SIGN-IN LINK-


.


-POCKET SCORES-


*SPEX* —>

‘/Users/joga/Library/CloudStorage/GoogleDrive-josephjgatti@gmail.com/My Drive/-FINAL CUTS-/-TRAX-/-SCORES-/-MY DEAR BROWN-/5 -NOTES-/1 -SPEX-‘

-MUSICAL KEY-

-TIME SIGNATURE-

-TEMPO-

-BEAT LENGTH-


*PARTS* —>

‘/Users/joga/Library/CloudStorage/GoogleDrive-josephjgatti@gmail.com/My Drive/-FINAL CUTS-/-TRAX-/-SCORES-/-MY DEAR BROWN-/5 -NOTES-/2 -PARTS-‘

-BAR BREAKDOWN-

-TABLE OF CONTENTS-


*LYRIX* —>

‘/Users/joga/Library/CloudStorage/GoogleDrive-josephjgatti@gmail.com/My Drive/-FINAL CUTS-/-TRAX-/-SCORES-/-MY DEAR BROWN-/5 -NOTES-/3 -LYRIX-‘

(SCREENSHOTS FROM “BASIX WORDPRESS ENTRY”)


.


-SORT [FINDER FOLDER] BY [NAME]-


-[GALLERY VIEW]-


-SEND [ENTRY SCREENSHOTS] TO YOUR iPHONE-


-TAKE NOTES IN [macOS NOTEPAD]-


XDUMPX


.




.


XDUMPX


*BASIC LYRIX* —>


*OUTLINE* —>


-INTRO-


-VERSE 1-


-CHORUS 1-


-BRIDGE 1-


-OUTRO-


.


*INTRO* —>


XXX


*VERSE 1* —>


XXX


*CHORUS 1* —>


XXX


*BRIDGE 1* —>


XXX


*OUTRO* —>


XXX


.


*PART 1*

my lady in waiting
in the bedroom
for a very long time

my boss is invading
from the boardroom

my maid masquerading
in the ballroom
serenaded away…

PART 2:

stay sure of the godsent
make love in the convent
come call from the coffin now
this don’t happen often…

these types of things don’t happen all the time…
so call the cops and i’ll commit the crime…

PART 3:

william worn down to a nub…
annoying like a bug…

catherine’s stuck in NYC…
(she’s the anti lisa B)
(which is where i wanna be)
(with my pants down to my knees)

a bum is yelping in despair…
but he’s saving me a beer…

PART 4:

morning news with caroline quirk
(as the gaybirds go berzerk)

(“you jerk!” in faggy voice)

PART 5:

(andrea d…wants nothing to do with me…)

justin (on banjo):

headin southbound…headin southbound…

OUTRO:

getting used to all my quirks…
da da da da da da da
da da da da da da da

.

***********************************

*SCRAPS*

***********************************


.


-XDUMPX-


👈👈👈☜*“THE LONG RUN”* ☞ 👉👉👉


👈👈👈☜*“OUR SIGNATURE SOUNDS”* ☞ 👉👉👉


👈👈👈☜*“THE DRAWING BOARD”* ☞ 👉👉👉


👈👈👈☜*“COLD CUTS”* ☞ 👉👉👉


👈👈👈☜*“SIZZLE REEL”* ☞ 👉👉👉


👈👈👈☜*“PAST MASTERS”* ☞ 👉👉👉


-XDUMPX-


.


*BASIC CHORDS* —>


*OUTLINE* —>


-INTRO-


-VERSE 1-


-CHORUS 1-


-BRIDGE 1-


-OUTRO-


.


*INTRO* —>


XXX


*VERSE 1* —>


XXX


*CHORUS 1* —>


XXX


*BRIDGE 1* —>


XXX


*OUTRO* —>


XXX


.


(4:4)
(108bpm)
(Ablues)

PART 1:

(A)

“my lady in waiting…”

(A7)

“in the bedroom…”

(D7)

“for a very long time…”

(D7 D7 D7 D6 — into “dancing with the stars” A blues groove)

(A – barred fifth position)
(A7 – barred fifth position)
(D7 – barred fifth position)

(A7)

“my boss is invading…from the…”

(D9) (D9)

“boardroom…(invading from the boardroom)…”

(Dmaj7) (F#msus4 F#m)

“my maid masquerading in the ballroom…”

(E E6 E)

“serenaded away…”

PART 2:

(A)

“stay sure of the god-sent…”

(C)

“make love in the convent…”

(F)

“come call from the coffin now…”

(G)

“this don’t happen often…”

(D7sus4) (D9)

these types of things don’t happen all the time…
so call the cops and i’ll commit the crime…

PART 3:

(“D blues”)

(D) (D7) (D6) (D)

william worn down to a nub…

annoying like a bug…

catherine’s stuck in NYC…

(she’s the anti lisa B)

(which is where i wanna be)

(with my pants down to my knees)

a bum is yelping in despair…

but he’s saving me a beer…

PART 4:

(reference: F# E)

(Dmaj7) (Bm)

morning news with caroline quirk…

(G7 G6 G) (Dmaj7)

gaybirds go berzerk…

“you jerk…”

PART 5:

(D)

andrea d wants nothing to do with me…

OUTRO:

(Dmaj7) (Bm)

getting used to all my quirks…

(B+ Bdim G6 G)

da da da da da…

(G G7 G6) (D)

da da da da da…

(Dmaj7 – barred fifth position)

(Bm – barred seventh position)

(B+ – barred seventh position

(Bdim – 6767 position)

(G G7 G6 D – open chords)

(then return to Dmaj7 in barred fifth position)


.


-XDUMPX-


.

*as of ‘2 NOVEMBER 2023’*

.

*WORDS*

*NOTES*

.

*key*

*time signature*

*tempo*

.

*INTRO*
(# bars)

*SECTION 1*
(# bars)

*SECTION 2*
(# bars)

*OUTRO*
(# bars)

.

.

(4:4)
(108bpm)
(Ablues)

INTRO:

(A A7)

(riff: A A G E G A)

(D7)

(riff: A C D D D C A C A)

(A A7)

(riff: A A G E G A)

(G6)

(riff: G E G E)

(D7)

(riff: D C D D C A)

(A A7 Dm Dmsus2 Dm7)

(A A G F E D C D)

(E)

(riff: E)

(bass: A (C#) D (C ) A G (B) D (C ) A (C#) D (C A F) E (G#))

VERSE:

(102bpm)

(reference note: A A G E G A)

(A7 D7)

my lady in waiting…

in the bedroom…

for a very long time…

(A7 D7sus4 D9)

my boss is invading

from the boardroom

(bass: A (C#) D (C ) A (C#) D)

(Dmaj7 D6 Dmaj7 D6 F#msus4 F#m)

my maid masquerading

in the ballroom

(E E6 E Esus4 E Esus2)

serenaded away…

(bass: D (C# B A) F# E (F# G#))

(A7) (C Csus2 C) (F F6 Fmaj7) (Gsus4 G G6 G7 G6)

stay sure of the godsent

make love in the convent

come call from the coffin now

this don’t happen often…

(bass: A (C#) C (G E) F (A) G (B))

[(D7sus4 D7) x 3 (D7sus4) (D9)] x 2

these types of things don’t happen all the time…

so call the cops and i’ll commit the crime…

VERSE:

(Dblues)

(D7 D6 D)

william worn down to a nub…

annoying like a bug…

catherine’s stuck in NYC…

(she’s the anti lisa B)

(which is where i wanna be)

(with my pants down to my knees)

a bum is yelping in despair…

but he’s saving me a beer…

CHORUS:

(Dmaj7 Dmaj7sus2) x 2 (Dmaj7) (Bm) (G7 G6) (Dmaj7)

morning news with caroline quirk

(as the gaybirds go berzerk)

(“you jerk!” in faggy voice)

(bass: D (C# A) B (F#) G (B) D)

VERSE:

(andrea d…wants nothing to do with me…)

justin (on banjo):

headin southbound…headin southbound…

OUTRO:

(Dmajor)

(Dmaj7 Dsus2) x 2

(Dmaj7) (Bm) (B+ Bdim Bmsus4) (G G7 G6) (Dmaj7)

chorus:

F# –> F# –> G –> A

D

getting used to all my quirks…

(bass: D (C# A) B (F#) G (B) D)

.

***************************************

*ALTERNATE SECTIONS*

***************************************

.

.

*INTRO*

(# BARS)

.

*lead-in (#) reference notes* —>

XXX

[X]

(0)

“…”

.

*SONIC SNAPSHOTS*

(# BARS)

.

-BAR #-

[X] [X] [X] [X]

(0) (0) (0) (0)

###

XXX

.

*MANTRAS*

(# BARS)

.

-BAR #-

[X] [X] [X] [X]

(0) (0) (0) (0)

###

XXX

.

*FREE-FORM CHANTS*

(# BARS)

.

-BAR #-

[X] [X] [X] [X]

(0) (0) (0) (0)

###

XXX

.

*OUTRO*

(# BARS)

.

-BAR #-

[X] [X] [X] [X]

(0) (0) (0) (0)

###

XXX

.

.

*”THE BASIX”*

.

*BAY 6*
(buy 1 get one free)

.

*”THE SCORE”*

*”CHORD CHARTS”*

.

*”GUITAR TABS”*

*”BASS TABS”*

.

*ONLINE REFERENCES*

.

*BASSLINES*

.

*BEATS*

.

*HARMONIES*

.

*COUNTER-POINTS*

.

*SAMPLES*

*as of ‘2 NOVEMBER 2023’*

.

*CHORDS*

*NOTES*

.

*SECTION 1*
(# bars)

*SECTION 2*
(# bars)

.

.

*INTRO*

(# BARS)

.

*lead-in lyrix* —>

“XXX”

.

*SONIC SNAPSHOTS*

(# BARS)

XXX

.

*MANTRAS*

(# BARS)

XXX

.

*FREE-FORM CHANTS*

(# BARS)

XXX

.

*OUTRO*

(# BARS)

XXX

.

.

(then…)

*SONIC SUBDIVISIONS*

(* 6 CATEGORIES*)

(‘half of 12’)

(sounds good to me (+ my ‘fellow duodecimalists’)


(cue ‘the creeps’ fadeout)

.

*TITLE*

*INTRO*

*VERSES*

*REFRAIN*

*BRIDGES*

*OUTRO*

.

.

*SONG TITLE* —>

*WORKING TITLES*

.

*ALTERNATE TITLES*

.

.

*INTRO*

.

*guitar riffs*
*dynamic changes*
*sonic ‘layers’ / ‘textures’ ‘added*
(until the ‘song proper kicks in)
(auka “verse 1”
(a ‘narrative’)
(maybe with (‘tempo’ / ‘time signature’ / ‘key’ change))

.

.

*VERSE #*

.

(aim for *12*)
(use at least *3*)

(“relative verse”)
2 verses that are identical minus a ‘word change’ or 2*
(for ‘first verse’ –? ‘final verse’)

“VIGNETTES”
“SLICES OF LIFE”

.

.

*REFRAIN*

XXX

*HOOKS*
*LAYERED VOCAL HARMONIES*
*LAYER INSTRUMENTAL TEXTURES*

.

.

*BRIDGE*

XXX


*OUTRO*

*into ‘counterpoint’ vocal free-form fade-outs*


“first things first…”

*determine ‘pertinent playlist placement(s’*

-as of [30 OCTOBER 2024]–

.

*CHORDS*

*WORDS*

.

andrea’s dropping out again…

under the city lights…

under the city lights…

we marched through dirty days and nasty nights…

eyes on the ball…hands off my wife…

hands on the ball…eyes off my wife…

(back in love again…)

(back in love again…)

(they don’t want no part of me…)

(vogel doesn’t want me round…)

2 by 2 on noah’s ark…

taking showers in the park…

getting kicked out after dark…

jesse spent the night in jail…

and i can take it away…

three

william worn down to a stub…

.

.

-WORKING TITLES-

.

*SECTION 1*
(# bars)

*SECTION 2*
(# bars)

.

*INTRO*

(# BARS)

.

*BAR 1* —>

XXX

.

*SONIC SNAPSHOTS*

(# BARS)

.

*BAR 1* —>

XXX

.

*MANTRAS*

(# BARS)

.

*BAR 1* —>

XXX

.

*FREE-FORM CHANTS*

(# BARS)

.

*BAR 1* —>

XXX

.

*OUTRO*

(# BARS)

.

*BAR 1* —>

XXX

.

XXX

.

-LYRICAL ALTERNATES/EXTENSIONS-

.

-SONG LINX-

.

-VISUALS-


.


-as of [18 OCTOBER 2026]-

.

.

👈👈👈☜*“THE LONG RUN”* ☞ 👉👉👉

.

.

💕💝💖💓🖤💙🖤💙🖤💙🖤❤️💚💛🧡❣️💞💔💘❣️🧡💛💚❤️🖤💜🖤💙🖤💙🖤💗💖💝💘

.

.

🔥🔥🔥🔥🔥🔥*we won the war* 🔥🔥🔥🔥🔥🔥

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