#keyboard sonata

[gasparodasalo]

Domenico Scarlatti (1685-1757) - Harpsichord Sonata in f-minor, K. 239. Performed by Emilia Fadini, harpsichord.

#domenico scarlatti #baroque #classical music #harpsichord #sonata #period performance #period instruments #harpsichord sonata #chamber music #baroque music #keyboard #keyboard sonata #scarlatti

[identity-very-big-deal]

Some official art with the otp YES

#identity v #idv #keyboard sonata

[mod-a-day]

Rob Hubbard, Matthew Simmonds (4-mat) Entire Soundtrack (PC remake, various modes) Jet-Set Willy (1984, 1997) Software Projects

Note: This music's quality was reduced to 64 Kbps in order to fit onto the site's 10 MB file limit.

#music #Ludwig van Beethoven #Piano Sonata No. 14 #Moonlight Sonata #1801 #1802 #Sheldon Harnick #Jerry Bock #If I Were a Rich Man #Fiddler on the Roof #1964 #Edvard Grieg #In the Hall of the Mountain King #Peer Gynt #1875 #probably more #Pot Keyboard Integrated Circuit #POKEY #Rob Hubbard #Manic Miner #1983 #Jet Set Willy #1984 #Software Projects #remake #remix #FastTracker 2 #XM #Matthew Simmonds #4-mat

[aprenda-piano-online]

#classical piano #piano tutorial #romantic piano #pianoplayer #pianomovers #pianoman #pianolove #pianoforte #piano sonata #grand piano #exercícios piano #aula de piano #keyboard exercise #tocar teclado #Youtube

[theres-whump-in-that-nebula]

Just played the Moonlight Sonata III (Level: Easy) on Magic Piano for the first time in years. Messed up numerous times; didn’t obsess over it or get irrationally angry. Still got three stars. :D

Deleted it because I don’t like what the app turned into lol

#Literally I would spend entire days trying to get it “just right” as a child #(from 10 to 13-ish years old mostly) #And when I did do it right I was like “Let’s do it again… for f u n” #Literal hell on earth #I was very good at it though; I’d only play one-handed and get perfect scores (except for Moonlight Sonata III and Wohin) #But I play a bunch of real keyboard-ish instruments now so… not really fun anymore

[usunezukoinezu]

#Baldassarre Galuppi #Luca Guglielmi #Keyboard Sonata in C Major

[savventeen]

thinking about a jihoon whose biggest love languages are quality time and acts of service.

a jihoon that's never been one for physical comfort and never really knows what to say or when to say it and who's always had trouble knowing what kind of material things other people might like.

he's always felt like the kind of person who loves quietly, sometimes so quietly he isn't sure anyone can hear it.

but oh, oh, do you hear it.

you hear it when you find an extra bento box in the fridge that just has a sticky note with a lopsided smiley face drawn on it. you hear it when he silently joins you on the opposite side of the couch and watches the rest of the shark documentary with you at 2 in the morning. you hear it when you complain about being too tired to do the dishes that night and you wake up to an empty sink and wiped-down countertops and a well-swept floor. you hear it when you say you're going out for coffee and his quiet "i'll go with you" is drowned out by the noise of you tripping over the shoes you left in the doorway. you hear it when your hands can't stop shaking and he quietly places his cordless headphones over your ears before sitting down at the keyboard and playing song after song after song until your chest no longer feels like it's filled with empty, infinite, crushing void.

he thinks his love is quiet, but to you, to you, his love is so fucking loud it's like he's screaming it from the rooftops — an endless sonata that you'll always be able to hear.

#woozi drabble #woozi imagines #woozi scenarios #woozi fluff #woozi x reader #woozi x you #svt fluff #svt drabble #svt imagines #svt scenarios #savv writes #savv fics #was suddenly plagued with jihoon thoughts and had to get them out

[whencyclopedia]

Ludwig van Beethoven

Ludwig van Beethoven (1770-1827) was a German composer of Classical and Romantic music; he is widely regarded as one of the greatest musicians to have ever lived. Most famous for his nine symphonies, piano concertos, piano sonatas, and string quartets, Beethoven was a great innovator and very probably the most influential composer in the history of music.

Early Life

Ludwig van Beethoven was born in Bonn, Germany, on 16 December 1770. His grandfather was the director of music (Kapellmeister) to the Archbishop-Elector of Cologne at Bonn and his father, Johann van Beethoven (c. 1740-1792), worked at the same court as both an instrumentalist and tenor singer. Ludwig's mother was a head cook in the palace. Ludwig had only two other surviving siblings, his younger brothers Caspar Anton Carl (b. 1774) and Nikolaus Johann (b. 1776). Ludwig's father was keen for Ludwig to develop his obvious musical skills but went rather overboard so that his eldest son spent so much time practising on the piano he did not have a lot of time left for all the other things children need to learn to become rounded adults. Johann was violent and an alcoholic, so there was not much that could be done against his wishes.

Ludwig's musical education continued at the Cologne court from 1779 under the tutorship of the organist and composer Christian Neefe (1748-1798). Ludwig impressed, and he was made the assistant court organist in 1781, and the next year, he was appointed the court orchestra's harpsichordist. Already composing his own pieces, Ludwig's work was catalogued by his teacher and a set of keyboard variations was published in 1782. Three of Ludwig's piano sonatas were published in 1783. In a smart move, Ludwig dedicated his sonatas to the Elector, and although he died that year, the next Elector saw fit to keep him on in the court orchestra.

In 1787, Ludwig was all set to go to Vienna where it was arranged he would take lessons from Wolfgang Amadeus Mozart (1756-1791). Although he made it to Vienna, when Ludwig's mother became ill, he was obliged to return home after only two weeks. Unfortunately, Ludwig did not manage to return to Bonn before his mother died, likely of tuberculosis. In 1789, Johann van Beethoven had descended deeper into alcoholism and grief so that Ludwig was obliged to take over responsibility for his family's affairs, which included controlling half of his father's salary. A second opportunity to learn from a master came in 1792 when Ludwig was given leave to study under Joseph Haydn (1732-1809), who was also in Vienna. The music of both Mozart and Haydn influenced Beethoven in the first stage of his career as a composer, as did the guidance of another teacher, Johann Georg Albrechtsberger (1736-1809), particularly regarding counterpoint.

Continue reading...

#History #ClassicalMusic #Composer #LudwigvanBeethoven #WHE #[ #]

[rustbeltjessie]

I do have a bunch of posts ready to go in the queue, but then today I got a big job which took most of my time. The rest of my time went to my kiddos, and that’s what this post is about.

They’ve both gotten into playing instruments recently, and between their dad and I, we can reasonably teach them fundamentals of many different instruments. Anyway, tonight the 11 year old was messing around on keyboard and asked me to teach him some stuff and play with him, and at one point I started playing a bit of “Moonlight Sonata.” And he said: “Wow, that’s beautiful. But also sad? It sorta makes me want to cry, but in a good way?” And that made me want to cry because it’s like yes, my little dude, welcome to how I feel all of the time.

#rust belt jessie #personal #parenting #my kids #music #moonlight sonata #it is a sad and beautiful world

[gasparodasalo]

Domenico Scarlatti (1685-1757) - Piano Sonata in f-minor, K. 466. Performed by Emilia Fadini, fortepiano.

#domenico scarlatti #baroque #classical music #piano #pianist #piano sonata #period performance #period instruments #fortepiano #pianoforte #keyboard #keyboard sonata #sonata #chamber music #baroque music

[affo-gatto-gateau]

Just a random headcanon I've had for a while.

I reckon Scout would be an excellent pianist. I just think that it would be a hidden talent of his that he can just sit down at a keyboard and play a Rachmaninov sonata just by memory.

The two explanations I had for it:

Scout took and enjoyed piano lessons with this old Russian pianist. Unfortunately, as tensions were beginning to rise between the USA and the USSR, especially during the Red Scare, his piano teacher disappeared one day, leaving his music and his instrument to Scout.

When Spy was with Scout's mum, he left her some gifts from upper-class society, including a number of records with classical music. Scout listened to these as a boy, when he still looked up to his father and hadn't yet become jaded about his absence. Eventually he learned to play them entirely by ear.

Idk I'm really taken by the idea that Scout enjoys activities that are not considered 'traditionally masculine' but hides them from the rest of the team out of fear of being ridiculed. I also like the idea that the mercs are, for the most part, entirely comfortable about their masculinity and don't give a shit if Scout likes the arts and will support him in his endeavours. Except Spy who will insult him but secretly be proud of his boy.

#tf2 #tf2 scout #scout #headcanon #tf2 headcanons #just thoughts

[mod-a-day]

Rob Hubbard, Matthew Simmonds (4-mat) Entire Soundtrack (PC remake, "Classic" Mode) Jet-Set Willy (1984, 1997) Software Projects

Note: This music's quality was reduced to 80 Kbps in order to fit into the site's 10 MB file limit for audio files.

#music #Ludwig van Beethoven #Piano Sonata No. 14 #Moonlight Sonata #1801 #1802 #Sheldon Harnick #Jerry Bock #If I Were a Rich Man #Fiddler on the Roof #1964 #Edvard Grieg #In the Hall of the Mountain King #Peer Gynt #1875 #probably more #Pot Keyboard Integrated Circuit #POKEY #Rob Hubbard #Manic Miner #1983 #Jet Set Willy #1984 #Software Projects #remake #remix #FastTracker 2 #XM #Matthew Simmonds #4-mat

[justforbooks]

The Italian pianist Maurizio Pollini, who has died aged 82, was one of the giants of the keyboard in the second half of the 20th century, and yet for all the respect he commanded, his playing was criticised throughout his career for being excessively cool and cerebral. When he took first prize at the 1960 Chopin competition in Warsaw, the chairman of the jury, Artur Rubinstein, declared: “That boy plays better than any of us jurors.” But that success proved to be only the prelude to the first controversial event of his career. He withdrew from the international concert circuit for 18 months to broaden his repertoire and develop other cultural interests. It was not until nearly the end of the decade that his performance schedule achieved a normal rhythm, but his full return in 1968, coinciding with a contract signed with the Deutsche Grammophon (DG) label, launched a series of triumphs on the concert platform and in the recording studio.

Classic recordings of Chopin Etudes, of music by Schumann and Beethoven, and of modernist repertoire such as Pierre Boulez’s Second Sonata consolidated his reputation and, at its best, Pollini’s playing combined expressive but unsentimental intimacy, tonal beauty, textural clarity and a formidable technique. Particularly in his later years, Pollini’s breathless, impatient delivery of Beethoven’s sonatas often seemed to deny their rhetoric, as though he was embarrassed by large romantic gestures or overt emotionalism.

Pollini’s cerebral instincts appeared to deprive him of the ability to live in the moment: romantic subjectivity, it seemed, had constantly to be interrogated.

Pollini was born in Milan. His father, Gino Pollini, was one of Italy’s leading architects of the interwar period; his mother, Renata (nee Melotti), who had studied singing and piano, was the sister of the modernist sculptor Fausto Melotti. Such a background, in which “old works and modern works co-existed together as part of life”, as Pollini later put it, was to have a formative influence on his own approach to art. The discovery of his musical talent led to lessons with Carlo Lonati and Carlo Vidusso (from 1955 at the Milan conservatory) and various competition successes prior to Warsaw. His 1963 London debut, playing Beethoven’s Third Piano Concerto with the LSO under Colin Davis, was criticised by the Times as “rushed” and over-impetuous.

Peter Andry, the responsible executive at EMI in the early 1960s, told in his autobiography, Inside the Recording Studio (2008), of the pursuit of the 19-year-old who had just won the prestigious Warsaw competition: “We quickly signed the young Italian, a slender, bespectacled young man with an elongated brow but a very pleasant manner.” One of their first (and only) projects together was a recording of the two sets of Chopin Etudes, Opp 10 and 25. It was not long after this that Pollini appeared to suffer a crisis of confidence. EMI sent him off to study for two years with the pianist Arturo Benedetti Michelangeli, but even as his musicality deepened, and reviews were often complimentary, Pollini retreated from the spotlight. He refused to allow the Etudes to be released – though this was in part because DG, shortly to sign Pollini as an exclusive artist, wanted to make their own version. The EMI sets were finally released only in 2011 (on Testament), winning plaudits for their spontaneity and freshness.

It was also in the 60s that music and politics first became intertwined in Pollini’s career. A friendship with a fellow-student, Claudio Abbado, a like-minded leftwing idealist, led them to seek radical ways of bringing classical music to factory workers, including a cycle of concerts at La Scala for employees and students. Another friendship, with the Marxist avant garde composer Luigi Nono, was equally important, resulting in the commission of two pieces for Pollini, including one for piano, voice and tapes, commemorating an assassinated Chilean revolutionary. Pollini’s radical outlook remained with him throughout his career, as did his intellectual approach to art and life. If too often that cerebralism seemed at odds with the heroic or passionate romantic sensibility of the music he played, there were compensations: the visionary gleam in a Chopin miniature; the anticipation of modernism in the ghostly finale of the same composer’s Second Piano Sonata.

Even when declining physical stamina took its toll in later recitals, Pollini commanded admiration of a sort for his continued willingness to pit himself against some of the most demanding works in the repertoire. The breathless impatience of his foreshortened phrases was unsettling, but glimpses of the old magic were still in evidence. The programming of his five-concert series The Pollini Project at the Royal Festival Hall, spread over five months in 2011 – which moved from Bach, through late Beethoven and Schubert to Chopin, Schumann, Liszt and Debussy to modernists such as Stockhausen and Boulez – represented a personal statement about landmarks in the history of piano music.

His interpretation of Boulez’s Second Sonata, notable for its precision and explosive energy, but also for its lyricism and Debussy-influenced pointillism, remains without peer. Stravinsky’s Petrushka likewise drew from him an incomparable muscularity coupled with tonal clarity that was ideally incisive rather than brutal. If Pollini’s playing was controversial, it was so because it explored the dichotomy of intellect and emotion fundamental to music-making.

He is survived by his wife, Marilisa (nee Marzotto), whom he married in 1968, and their son, Daniele.

🔔 Maurizio Pollini, pianist, born 5 January 1942; died 23 March 2024

Daily inspiration. Discover more photos at Just for Books…?

#just for books #maurizio pollini #in memoriam

[th3-0bjectivist]

Dear listener, I turned on my car radio for about five hours on a long drive this week and found myself suffering and appalled through the advert-heavy and song-lite nature of it all. Seriously, this is what passes for radio programming these days? The ninety-nine and one-half trillionth T-Swift breakup ballad? Pop-country tunes that manage to all sound the EXACT same as the previous pop-country tune?? Radio rock stations featuring tunes with less balls than a castrati troupe!? Modern hip-hop/rap music that all sounds roughly equivalent to setting up a lawncare sprinkler system in my car only without the water!!? Nine-to-ten agonizing commercials in a row before you get to the commercial-free hour, only to be then reminded between each individual song that it’s the commercial free music hour!!??!?!!?? I flipped from station to station hoping for some form of alleviation, for SOME hope that music is still alive and well on the radio in 2023. Y’know what I found out? The absolute BEST music programming on modern radio is based on tunes created around two to three centuries ago. That’s right folks! The best radio station I came across was a classical one. The classical radio deejay was informative, his voice was soft and pleasant, there were minimal commercials and the musical interludes lasted forty-five minutes at a stretch until the next commercial break. Inspired by this, until the end of 2023, I’ll be posting 3 classical tune sets (Bach, Vivaldi, and Brahms) starting with my personal favorite German musician of all-time, Johann Sebastian Bach.

Generally regarded as one of the greatest composers in the history of Western culture, this man was truly fit for the title ‘Master of Composition’. Starting off as a mega-talented organ player and violinist, Bach had a distinct flair for blending widely varying instruments and regional musical styles, regularly synthesizing multifarious sound techniques to make a noise ain’t nobody on Earth had heard before. Having been employed by local churches early on, Bach began composing his own ‘sacred music’ (see also ‘church music’) and being something of a musical jack-of-all-trades engaged in his own ‘non-secular’ works which did not jive with very simply defined and rigid church traditions. Having a penchant for engineering complex and experimental arrangements, Bach developed a special talent for weaving melodic lines and immensely complex interdependent harmonies together to provide compositional structures that were simply second to NONE in the early 1700’s and even up to this very day. His concertos for orchestras, sonatas, suites, cantatas, keyboard works, choral works and organ works really are the stuff of legend which is why they are hailed up to the current day! I could go on endlessly about his accolades, but instead I’ll just leave you with the following final thought. Some of Bach’s individual works are like observing an incredibly detailed drawing or painting, except with audio. If you concentrate enough on a single piece, you’ll very clearly hear the overlapping elements, the solid lines accompanied by the abstract rudiments floating softly in the background and be moved emotionally by the very physics of the harmonic motions. It’s not just the melodic nature of the man’s tunes, but also the harmony that accompanies them. Smash play and enjoy a variation of Cantata BWV 147: Jesu, Joy of Man’s Desiring and experience for yourself why people like Bach were truly the rock stars of their era. And if you want more, like way more, click just below for The Best of Bach and enjoy!

He also married his own cousin, had 20 children through separate wives, and died after eye surgery in 1750. I like to separate the art from the artist on my blog. Nobody’s perfect, it was different times back then with vastly inferior social and medical standards at play. I don’t judge too harshly. I mean, he was so talented that Duke Wilhelm had him imprisoned after Bach simply tried to leave the Duke’s royal court to find a better gig. He did something that the vast majority of modern musicians just can’t seem to be bothered to do… innovate (to simplify that word for modern musicians, it means creating brand NEW stuff that no one has heard of or tried before, you’re welcome…)! And for that reason, he has more than earned his placed in the annals of human history as one, if not the greatest composer, and my personal favorite classical composer of all time. Image source: https://www.nationalgeographic.co.uk/history-and-civilisation/2019/07/how-bachs-anatomy-may-have-handed-him-greatness

#j.s. bach #bach #johann sebastian bach #music on tumblr #classical music #audio video #audio on tumblr #cantata BWV 147 #jesu #joy of man's desiring #composer #violinist #legend #classical #baroque period #music from the 1700's #orchestra

[black-arcana]

Former NIGHTWISH Vocalist ANETTE OLZON Releases New Solo Single 'Rapture'

Anette Olzon, the former powerhouse vocalist of NIGHTWISH and one half of the dynamic duo behind THE DARK ELEMENT alongside former SONATA ARCTICA guitarist Jani Liimatainen, has released the official music video for her new solo single, "Rapture". It is the title track of her third solo album, "Rapture", due on May 10 via Frontiers Music Srl. The clip was created by Patric Ullaeus from rEvolver Film Company and can be seen below.

Set to captivate audiences worldwide, "Rapture" promises to deliver an electrifying blend of heavy melodies and soaring vocals that solidify Olzon's esteemed status as one of the premier female voices in the metal genre.

Following in the footsteps of her critically acclaimed second solo album, "Strong", Anette once again teams up with acclaimed Swedish guitarist and producer Magnus Karlsson to craft a musical experience that pushes boundaries and excites the senses. Together, they have curated a collection of songs that showcase Anette's unparalleled vocal range, complemented by Karlsson's masterful riffs and the addition of growls by Johan Husgafvel, adding a dynamic layer to the album's sound.

"Rapture" seamlessly navigates through various musical genres, from symphonic to melodic power metal, with hints of melo-death, while maintaining an irresistibly catchy and melodious essence. Olzon's performance on this album is her most versatile yet, proving her ability to evolve and innovate while staying true to her signature style.

Renowned mixer Jacob Hansen, known for his work with PRETTY MAIDS, VOLBEAT and THE DARK ELEMENT, returns to the fold to ensure that "Rapture" achieves the perfect balance between heaviness and hookiness, resulting in an album that is both impactful and memorable.

"Rapture" is set to unleash its sonic fury upon the world, cementing Olzon's status as a force to be reckoned with in the metal music scene. Prepare to be swept away by the sheer power and beauty of Anette Olzon's "Rapture".

"Rapture" track listing:

Heed The Call

Rapture

Day Of Wrath

Requiem

Arise

Take A Stand

Cast Evil Out

Greedy World

Hear My Song

Head Up High

We Search For Peace

Recording linup:

Anette Olzon - Vocals Magnus Karlsson - Guitar, Bass, Keyboards Anders Köllerfors - Drums Johan Husgafvel - Growls

The Swedish-born singer originally joined NIGHTWISH in 2007 and recorded two studio LPs with the band before being dismissed in 2012 in the middle of the group's North American tour. She was replaced by former AFTER FOREVER frontwoman Floor Jansen.

Olzon reflected on her time with NIGHTWISH in a 2021 interview with Finland's Chaoszine. Asked how she looks back on the entire five-year experience, she said: "Well, it's mixed emotions. It was a hell of a ride. You know how it was with the media in Finland. And for me, I didn't understand what was happening because I didn't know how big the band was, since I don't live in Finland. So it was really fun the first years with everything and also crazy. I wasn't home a lot. They did their heaviest touring when I joined. All of a sudden, they wanted to do so many long weeks [on the road]. I remember just that I had a five-year-old son [and] I came home after five weeks. I was home one week. I didn't almost have time to unpack my bags before I went off again for four weeks. So I don't remember everything, to be honest. There are so many things that I don't remember. And also, of course, the last years where it wasn't such a nice atmosphere between us. And I had my third child, and things happened.

"So I remember it both with really happy, happy feelings, but also with very, very negative and sad feelings," she explained. "But, of course, it was an amazing experience, and it was my dream that came true to be a full-time singer in an amazing big band. And they are a super-good band. So I bless the albums that we did and will always cherish that time, of course."

Not long after Olzon was fired from NIGHTWISH 11 years ago, she claimed that an argument arose between her and NIGHTWISH when she asked for an Australian tour to be postponed during her pregnancy. Keyboardist Tuomas Holopainen suggested that Jansen should front the band on a temporary basis, but Olzon said no.

Anette explained in a 2014 interview: "I would have been too pregnant to go to Australia, so I wanted to push the dates back, but Tuomas didn't want that. Discussions about a substitute came up, and at first, I was, like, 'Yeah, well, okay.' But when they mentioned Floor, it was an automatic 'no' from me. I didn't think it was a good idea, because I knew what would happen — I knew the fans would love Floor, because she's a metal singer and I'm a pop singer, and I wanted to keep my job."

A year after NIGHTWISH fired Olzon, the band released a statement denying that she was dismissed because of pregnancy or illness. "We discovered her personality didn't fit this work community, and was even detrimental to it," the group said. NIGHTWISH went on to say that Anette was initially receptive to the idea of hiring a temporary replacement if she couldn't "manage everything," but that she later "took back her decision, and the difficulties really started. Fear of losing money and position seemed obvious." The band also insisted that "Anette and her company" were "paid a fifth of everything that was done during her time" with NIGHTWISH.

Since the end of her stint with NIGHTWISH, Olzon also formed THE DARK ELEMENT with Liimatainen. The group's self-titled debut album was released in 2017; a follow-up, "Songs The Night Sings", came out in 2019.

Olzon and noted progressive metal vocalist Russell Allen (SYMPHONY X, ADRENALINE MOB) released a collaborative album titled "Worlds Apart" in March 2020 via Frontiers Music Srl. The project was issued under the moniker ALLEN/OLZON. A follow-up album, "Army Of Dreamers", arrived in 2022.

#anette olzon #Youtube

[blueeyedheizer]

❝THE PIANIST❞

pairing: pianist!Cassie Howard x fem!reader

content warning: AU where Lexi is more popular than Cassie, talks of insecurities

a/n: so I recently watched nocturne and this happened :') (minus the horror stuff lol) I kinda hate it but it's better than nothing...right?

(gif: mikaeled)

"You're going to embarrass yourself. Lexi was born for this, you'll never be half as talented as she is."

Those were the nagging thoughts that lingered in the back of Cassie's mind as she stared at the keyboard with little to no motivation to carry on playing.

Piano wasn't the only thing Lexi was excelling at. She was a bright student, got amazing grades in every class, she had a stable group of friends and was admired by everyone around her. The brunette was everything Cassie wished to be.

And this piano, which had once brought her so much joy, was now a source of frustration and anguish.

Sucking in a breath, Cassie tried to push those thoughts aside and concentrate again. She had to be ready for this talent show. She had to prove everyone that she was in fact equally as talented and worthy as her sister.

And so her fingers rose again to hover over the black and white keys, her foot readying itself at the pedal simultaneously.

Her fingers began to move gracefully over the keyboard while she followed the music sheet that was pinned in front of her. Cassie started slow, her fingers lazily hitting each key, letting them get accustomed to the movement. She cringed as she hit a wrong note but continued on regardless, her brows furrowing in concentration.

But the pace quickly became too fast, hard to keep up with. Cassie didn't have the hang of it yet. Her fingers fumbled, which caused her to play a combination of the wrong keys.

She stopped to rub her sweaty hands on her jeans. She was growing more and more frustrated by the second, her heartbeat speeding up, throat tightening.

After taking a moment to gather her emotions, Cassie placed her hands on the keyboard again. She took a deep breath and closed her eyes before starting over from the beginning, the opening notes of Mozart's Sonata Number Sixteen filling the room once more.

She was doing just fine, until came another wrong note. And that was all it took for her to break, her eyes suddenly filling with tears and blurring her vision.

"Fuck!" she yelled, slamming her hands down on the piano keys and weeping.

You'll never be ready. They'll laugh at you.

She wanted to give up. Close the lid and phone the school to let them know she wouldn't be able to perform. She'd call in sick, or say there's a family emergency. But she didn't want to do this anymore. The phone was so close, she just had to reach out and grab it and then all her problems would be solved. She stared at it.

Just then, her attention was caught by the sound of the door opening, your voice breaking the silence.

"Hi Cass." you said, peeking cautiously into the room. Cassie turned around to face you, her eyes puffy. You gave her a sympathetic smile as she repeated the simple greeting, wiping her cheeks and forcing a smile.

"I heard a scream. What's wrong?" you cooed, stepping closer to your visibly upset girlfriend. You cupped her shoulders with your hands and began to rub your thumbs along the area between her shoulder blades. Cassie dropped her head a little, enjoying the massage.

"I'll never be ready for the talent show." she sniffled. "I keep messing up at the same bit. I can't do anything right."

"You're still learning, Cassie. There's nothing wrong with messing up." you leaned forward to peck her cheek.

"But Lexi has already mastered her part, I need to—"

"Stop comparing yourself to your sister. The only reason Lexi has already mastered her part is because she's had an extra week to practice. That doesn't mean anything, and it doesn't make you any less talented." you continued to massage her shoulders. "Come on. Play something for me." you seated yourself next to her and placed a comforting hand on her lower back, rubbing it with your thumb.

"I- I don't—"

"Please?" you pouted, giving her your best puppy eyes.

Cassie wiped her cheeks with her sleeves and eventually nodded, her shaky hands moving to the keys once more. She began to play the first notes, which you immediately recognized as Mozart.

"No." you interrupted, placing a hand over hers. "Not this. Play something different. Something that you love." Cassie thought for a moment before deciding on a song.

"Okay." she whispered to herself, nodding.

Once more she began to play, her shoulders and back shifting as her fingers pressed each key, missing no note this time. She looked much more at ease already. She quickly began to relax and closed her eyes, letting her fingers do the work while you leaned your head on her shoulder, smiling fondly as you watched.

After a couple minutes the melody came to an end and Cassie slowly shut the lid of the piano, a sweet smile on her lips.

“You make playing this thing seem so easy,” you told her, hooking a finger under her chin and leaning in to kiss her. Cassie giggled, shying away from you.

"See?" you said. "All you needed was a break from Mozart." you whispered, kissing her lips once more. Then your expression turned serious. "You're more than ready for this talent show, Cassie. You're going to own the stage and impress everyone in that room like you always do."

#sydney sweeney fanfic #cassie howard x fem!reader #cassie howard fanfic #cassie howard imagine #cassie howard x reader #cassie howard #euphoria x reader #euphoria imagine #euphoria fanfic #euphoria hbo