That Amethyst Jacket

By Nanisi Barrett D'Arnuk

A percussionist with the local orchestra, Ashlee sometimes has very little to do, so she daydreams about the new bass player, Michela. When Michela asks her out to dinner, her dreams seem to be coming true.

But is Michela gay? Ashlee didn’t think so, but her goodnight kiss plants the seed of hope.

Over their second date, they review Michela’s portfolio. Could Ashlee help Michela start her career? Before they can find out, their third date is interrupted by Michela’s angry and violent ex. Is the fourth time the charm?

• Language: English
• Publisher: JMS Books LLC
• Release date: Jul 8, 2017
• ISBN: 9781634864305

Nanisi Barrett D'Arnuk

Nanisi Barrett D’Arnuk first published in 1996. In 2000, she and her partner were victims of a hate crime which burned their house to the ground, destroying everything. She has since rewritten her first series, The Cameron Andrews Mysteries. For more information, visit facebook.com/nanisibarrettdarnuk.

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That Amethyst Jacket

By Nanisi Barrett D’Arnuk

Published by JMS Books LLC

Visit jms-books.com for more information.

Copyright 2017 Nanisi Barrett D’Arnuk

ISBN 9781634864305

Cover Design: Written Ink Designs | written-ink.com

Image(s) used under a Standard Royalty-Free License.

All rights reserved.

WARNING: This book is not transferable. It is for your own personal use. If it is sold, shared, or given away, it is an infringement of the copyright of this work and violators will be prosecuted to the fullest extent of the law.

No portion of this book may be transmitted or reproduced in any form, or by any means, without permission in writing from the publisher, with the exception of brief excerpts used for the purposes of review.

This book is for ADULT AUDIENCES ONLY. It may contain sexually explicit scenes and graphic language which might be considered offensive by some readers. Please store your files where they cannot be accessed by minors.

This is a work of fiction. Names, characters, places, and incidents are solely the product of the author’s imagination and/or are used fictitiously, though reference may be made to actual historical events or existing locations. Any resemblance to actual persons, living or dead, is entirely coincidental.

Published in the United States of America.

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For Ti.

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That Amethyst Jacket

By Nanisi Barrett D’Arnuk

If you’re a percussionist in an orchestra, unless you play tympani, you could go long portions of a movement and even longer portions of a rehearsal with nothing to do. It isn’t uncommon to count a hundred or more measures of silence before just one cymbal crash, a single triangle tinkle, or a brief xylophone riff. I ‘m not sure, but I suspect composers are just plain sadistic to write something like that. Maybe they had a nephew who wasn’t too energetic but needed a job.

I remember counting one hundred and eighty measures of silence, only to have the conductor stop the orchestra at measure one-seventy-two, correct something in the brass section, and then start again at measure one-twenty. I sighed so loudly, Jim, another percussionist, looked over at me and rolled his eyes.

It must be nice to play in the string section. They play just about every beat and had some incredible sections to show off their abilities. Even the woodwinds and brass had good sections to play, but percussionists? Unless it’s a military piece or something written after nineteen-fifty, you’re just decoration. You have to do something to make yourself look important. We make one tap on the triangle look like an art form.

Actually, the Russians love percussion, and there are always good parts to play: church bells, cannons, horses, thunder. You name it, they probably write it. The Asians like tuned woodblocks and bells, so there is always something to sink your teeth into there, too.

So, what do you do during those long quiet sessions? You think, observe, dream, and fantasize. Anything to take up the time because you have to stand there and look like you’re paying attention.

Watching the other musicians is boring. Because you’re behind everyone, all you see are the violinists’ left shoulders and the backs of everyone’s head.

If you are far enough toward stage right, you get to see most of the fronts of the cellists and bass players. When they move, sometimes, you get to see even more…like the red-headed cello player who sits second on stand two.

She was right in my line of vision. At one concert, she’d worn a rather low-cut blouse. When she leaned to her right with her right arm extended to her bow’s full length, we had a good look at her cleavage.

I thought, Lean right, lean right…

When the oboist stood to play her solo, I almost shouted, "Sit down! You’re blocking