[Vocal character: intimate androgynous lead, clear yet softly textured, with seamless register transitions. Preserve the same gender-ambiguous timbre in exposed phrases, full-voice peaks and layered harmonies.] [Verse 1] [Whisper-close androgynous lead voice with fully pitched legato phrasing. A repeating harp figure and porcelain pulse establish patient motion.] In the myth In the meaning In the moments in between it It will come You will see it Give it time Give it time [Add a second plucked figure offset from the first; keep the lead steady and unhurried.] In the hours and the minutes In the mirror In the image In the spirit In the spinning Give it time Give it time [Verse 2] [Keep the motif; add warm bass and short cello responses. Each repeated phrase gains a small harmony, never a new lyric.] In the riddle In the reason In the calling In the season In the bloom In the bleeding Give it time Give it time [Lower cello notes deepen the repeating pattern; resist a premature drum crescendo.] In the depths In the shallow In the songs that you borrow In the dark In the hollow Give it time Give it time [Chorus] [Release into clear melodic syllables with broad stacked harmonies. Sustained guitar waves and toms support a simple memorable hook.] [Give each two-line pair a distinct lift: solo melody, close harmony, octave harmony, then full luminous stack.] Bla-la Bla-la-la Bla-la Bla-la-la Bla-la Bla-la-la Bla-la Bla-la-la [Verse 3] [Pull back to chamber instruments while retaining the pulse. Piano echoes the vocal contour; grow toward the final couplet.] In the place In the space In the chaos In the grace In the here In the way Give it time Give it time In the voice In the echo In the endings In the echo [Let the upper harmonies loosen and breathe as the verse moves toward release.] In the giving In the letting go Give it time Give it time [Chorus] [Return larger, with octave harmonies and a full bass foundation.] Bla-la Bla-la-la Bla-la Bla-la-la Bla-la Bla-la-la Bla-la Bla-la-la [Bridge] [Begin with the full pulse, then remove drums, guitars and bass in stages. End the final refrain intimately over harp and porcelain.] In the river In the ocean In the moving In the motion In the still In the broken Give it time Give it time [Remove the guitars; harp and piano carry the final sequence. Gradually reduce the percussion to isolated porcelain taps.] In the doors that you open In the wars In the wounding In the worry In the waiting Give it time Give it time [Outro] [Instrumental. Let the ostinato lose notes until only resonance remains; do not append another chorus.]
