Aziraphale, I love you. But you lied. And here's why.
Okay. I’m not gonna beat around the bush for too long. It’s time now for me to also throw my try at a personal Good Omens Season 2 Magnum Opus into the mix of already existing magnum op..i? Opusses? (Smited? Smote?)
If I’m honest, it isn’t fully my own magnum opus, as I read this meta not too long ago that made me go: „Oh! My God! That’s it!“ And I’m pretty sure a lot of other people have clocked this too by now. Of course I’m not saying it’s the objective truth but after having mulled it over for many endless nights and days, wading through the onslaught of coffee theories, body swap theories, The Metatron re-writing the Book of Life theories and many, many more, this is the one I think is most plausible and, if you look closely, most obvious.
And it goes as such: Aziraphale lied.
To all of us. All of them. And most of all, to Crowley. He lied to him. Well, he sort of did and also sort of didn’t. He certainly didn’t tell the truth. At least not all of it. I hear you ask: “OP, what the fuck are you talking about”. I answer you: Let’s start from the top and under the cut.
(Small note: this meta ended up being way too large for Tumblr, which is why I will redirect you to an external doc at the end of the post, where I have written it all down nicely and accurately. It's about 35 digital A4-pages long, just in case you want to save it for later.)
(Word count: 12.831 | Approximate reading time: 50 minutes)
Let’s start with a short recap of what happens before the Metatron crashes the bookshop party and everything goes to shit. The proper visuals for this are in my Tumblr post but I am absolutely convinced that right up until when the Metatron comes to take Aziraphale away and talk to him, the angel is fully ready to get into Crowley’s Bentley-chariot and finally ride off into the sunset (or Alpha Centauri-set or whatever). You can see it in his face and body language. You can see when the penny drops for him that a) Crowley loves him b) he loves Crowley and c) they can finally start their happily ever after. Aziraphale realizes this all throughout said Brielzebub reveal in the bookshop. And he’s such a lost cause once he does.
I mean, look at that. Look at it. This (very shitty recording, sorry, I'm not tech-savvy enough to avoid the Amazon Prime screen recording blocker) is the very second Aziraphale realizes hat Crowley loves him. When he hears him suggest Alpha bloody Centauri as a getaway for Gabriel and Beelzebub, as Crowley has done to Aziraphale for so, so many times now. He finally understands what Crowley was trying to tell him with that all those times.
Aziraphale realizes this all throughout the Brielzebub reveal in the bookshop. And he’s such a lost cause once he does.
Right when Crowley suggest Alpha Centauri as a nice getaway spot to the two, Aziraphale looks at him and he gets it. That Crowley has loved him, has been loving him for millennia. Truthfully, they've both known that for a long while now. But there's a difference between knowing, wanting, craving and actually being able to finally have something. And that's exactly what we see on Aziraphale's face here. This is it. This is where it all starts working out for Crowley and him. This is were they can start their eternity together.
So from that second on, Aziraphale only has eyes for Crowley. He keeps physically pawing at Crowley with complete heart eyes, as if to say „Look, look, that’s gonna be us too! Finally!" He’s actually so smitten that he doesn’t even hear what Crowley is saying when he asks Shax if he can have back his apartment now because he’s sick of living in his car. (Also, what way to drop that bomb right in this moment Crowley, lmao).
Once the Metatron comes in, the first thing Aziraphale says is that they don’t need to talk because „he’s made his position quite clear“. He doesn’t even want to talk to the Metatron, because in his mind, he’s already made the choice. Actually, he made the choice way before the bookshop showdown. For starters, I’m convinced that the Jane Austen Ball actually never was for Maggie and Nina but for Crowley and him (you can read more about that here). And apart from that, for this whole season we have seen Aziraphale trying to advance his relationship with Crowley romantically and domestically and move them to the literal next base (our car!). And after everything he just witnessed with Brielzebub, the final nail in the coffin of ethereal-infernal romance being possible, his choice is absolutely crystal clear: It’s Crowley. It’s always been Crowley and it always will be Crowley. And now it can be Crowley. They can be an us.
The whole of Season 2 is such a massive learning curve for Aziraphale’s character, with him remembering all those important pivotal points of his past, and this very moment is the peak, with him not only understanding that Crowley loves him (because he certainly knew for quite some centuries now) but accepting that love, letting himself have that love, being allowed to want that love and taking that love and starting their new and final chapter with it.
Nevertheless, the plot clock ticks for them. The Metatron saunters into the bookshop, evil and stinky as Metatrons do, and urges Aziraphale to come with him with his whole Take The Coffee schtick, which I will get into later. And Aziraphale, immediately sensing there’s Something Up, does. Can’t really turn down someone as high-ranking as the the voice of God, after all. Even if you were currently already planning how you were going to elope with a certain red-haired serpent of Eden.
he next time we see Aziraphale on screen, it’s so painfully evident on his face that he is neither happy nor excited. Not even the slightest bit. We’d know if he was, thanks to Mr. Michael master-of-microexpressions Sheen. None of the usual “Aziraphale is happy”-signs are there. No blinding eye-smile, no giddy wriggling, not giggles and gasps. No, when the Metatron tells Aziraphale to „go tell your friend the good news“, his expression looks like this:
I’m gonna go out on an entire limb here and say: That does not look like someone who’s absolutely tickety-boo hyped to tell his demon soulmate that he just got the juiciest promotion and that they can both be angels and live happily ever after in ethereal eternity now.
This, folks, looks like someone who knows exactly that the news he has to break right now, are going to be tickety-shit awful and very upsetting to said demon soulmate. And already, from that very short snippet of conversation, we can tell that Aziraphale isn’t really given a choice by the Metatron. Because while the Metatron does tell him that he doesn’t have to „answer right away“, he immediately follows it up by: „Go ahead and tell your friend the good news!“ Very distinct and definitive choice of words here. It’s “good news” because it’s already been decided. Because it’s already a done deal. There is no “yes, no, maybe”. This is the only choice he’s giving to Aziraphale. Because it’s ‘Coffee or death’.
And he already gave him the coffee.
***
Tumblr won't let me continue this over a certain character limit and I am not even remotely done yet – so, I feel like this is a good moment to redirect you to the continuation of this insane meta before we're in too deep. You can do so right here!
I'd love to hear your thoughts and opinions about this once you've fought your way through it. Hope you have a good time with it!
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Rigor Mortis (part 3)
College roommate!Miguel O'Hara x reader
(AO3 Mirror) (Wattpad) Series Masterlist, Main Masterlist,
Part 2, Part 4
summary: A bad day turns even worse. Miguel surprises you.
warnings: angst angst angst, mentions of grief, very vague mention of domestic violence and abuse.
recommended reading: the painting Ophelia by John Everett Millais, and the song Ophelia by the lumineers.
a/n: i lowkey suck at communicating my "big" ideas so i really really hope this makes sense!
Thank you to my beta readers, @tianyhi and @urgonnaneedabiggership (they also write Miguel fics, I highly recommend! my favourite is this series), I couldn't have done it without you guys <3
Join my taglists here
wc: 3.8k
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
they were here, she says,
You’ve had your share of bad days.
Oh God , enough to fill an A4 binder with. For example, knocking out that tooth when you were twelve. A butterfly effect of fuck ups that led to a scuffle at school: blood in your mouth, a tooth on the ground, and a looong suspension. You received quite the earful at home, that day.
And then there was telling your parents you had dropped out of college. Telling them you were moving halfway across the country with your boyfriend. Breaking up with said boyfriend in your favourite diner; thus sullying Pam’s waffles and pancakes with the bitter taste of… oh-fuck-I-don’t-know-how-I’ll-afford-an-apartment-now. Oh, and heartbreak – although that wasn’t as immediate.
Scratch that, the day of the breakup had been fairly mundane. Pleasant, even. Jamie had an off day, and you only had a few lectures. He didn’t tell you, of course, so meeting him in the apartment was a surprise. You’re home earlier than usual, and you can’t quite bear to wake him up; slumped on the sofa like an old cat. He’s tired, lectures and clerkships running him ragged for the past few years. Only a year out until residency, with bags under his eyes as proof, and you see him less and less. All things considered, you’re glad to spend the rest of the day with him.
You’d spent too long after the break up analysing the days leading up to it: for a sign, something in his behaviour that would’ve warned you. And so, you remember it quite vividly: kicking your shoes off, putting your bag down, and sinking into the sofa next to him. You curl into him, looking up at his face: steady, tempered breathing. Something at your chest, solid and heavy. He looks peaceful, happy; and you haven't seen that side of him in quite a while.
When you shift against him, you knock against his shoulder. Jamie stirs, groggy, and eyes adjusting to the light. The first thing he sees as he wakes is you; romantic, in theory. His expression is etched into your subconscious; stark and stiff like a marble statue, or a tombstone. A flash of disappointment, lip drawn in what seemed like disgust – but only for a moment.
" Morning , baby." You squeeze his side, and take his hand into yours. That look ; it's gone almost as quickly as it came.
"Thought…" He frowns, fighting dregs of sleep. "I thought you would be back later."
"Nope." You give him a smile and he returns with one that doesn't quite reach his eyes. He puts a hand on your cheek.
"Morning," Probably tired, he sighs deeply. You move on with the day. And he breaks up with you, not even 6 hours later.
You had had 4 years of that: good days, bad days, but most of them had been… mundane. Boring. Not quite the heat and intensity of true love, as the movies had gaslighted you into believing in.
You like the old black and white ones the best. Old fashioned, old-timey folk; declarations of love in tinny transatlantic accents. Suddenly, you’re on the floor of your childhood bedroom; eyes wide at the Sound of Music. Maria and Von Trapp hand in hand: her dress billowing, the flash of white glove on the small of her back. Love, love, love; and your lack of it.
You feel its loss all the same.
Despite all your efforts – including a dash to the station that could rival an Olympic sprinter – you were late to your first lecture. Sweaty, out of breath, and ambushed with a pen and paper; thrust into your hands on arrival. You look around to see dozens of heads down, scribbling furiously. A surprise test – and you’re late.
Hand aching, you barely finish within the two hours, after bullshitting your way through at least half of the questions. By the looks of the people streaming out of the hall; faces rumpled and grimacing; you’re not the only one. However, it does little to comfort you. You’re sure you're the only one failing so spectacularly, with the semester already half over.
You'd smacked your leg on the coffee table on the way out and a book had slammed to the floor. An art book, the kind in a model home - and you know damn well Miguel's not an enthusiast. The image sticks for some reason, leg aching as you trudge to your next class. When he gives you that blank look; the memory of men gone past is haunting – dead-eyed, and blank, like eyes cut out of a painting. You wonder if a Van Gogh would feel the same with the brilliant blue of eyes slashed out.
Nevertheless, you feel like lead. Off
to your next class, and it's going over material passed out the day before; which you didn’t have the time to look over. The professor drones on; voice monotonous and gravelly. Struggling to keep up, you sink into your seat – tapping away at your laptop, whatever you can get down. You pick at your lip, unravelling; unfurling like the tip of a slashed rope.
That's what you’re waiting for, you think: sandbags clattering down from stage left, to bring the rest of this whole farce down.
A sinking feeling, that starts at your chest and makes its way to the tops of your fingers and toes, leaves you numb for the rest of the day. Dread, like a shadow, at your heels in the corridors, across the courtyard, all around campus. Another lecture, and you make it in time for labs, barely, but there’s no time to go over notes; what you managed to scrape together in preparation. And of course , your lab partner’s sick, because that’s just the kind of day you’re having. It’s hectic, doing the work of two people with only the scraps you’ve cobbled together.
The pressure mounts. Like liquid in that flask you weren’t meant to stopper; and you just might end up like its remnants on the counter. Glass everywhere but where it should be. For a good grade, it helps to be organised: everything in its place, always. Except it isn’t, and you’ve fucked it up, again . It means the results don’t match up in your lab book, and another hour staring at liquid decanting, monitoring temperatures. Staring at stark white walls, with achy legs.
You step out whilst machines run in your stead, and shed your lab coat. It’s hot and stuffy in there but out in the corridor, you can finally breathe. Forehead on the cool wall, it all stops for a moment. The persistent buzz of your phone, sat in the pocket of your trousers, creeps into the quiet.
Absent-mindedly, you turn it on with a click. The buzzing stops. You’ve just missed a call from Miguel. It’s odd, he doesn’t usually call, but it’s the little box underneath the notification that makes you pause. A message, from a number you thought you’d blocked – that you should’ve blocked.
From:Jamie <3
Hey
From:Jamie <3
We should meet. I’ve still got some of your things in the apartment.
Your blood runs cold. Dread, like a shadow; its hand wrapped your neck. You can’t breathe, stuck under the weight of something at your chest. You can’t breathe, the walls close in. We should meet , he says. Like it’s the easiest thing in the world; just friends catching up over a coffee. Like you didn’t watch him carve out a chunk of your heart with a rusty spoon.
A panic attack, and you’re awkwardly hunched over by the wall, phone in hand. Someone will find you here, lying on the vinyl floor in Block B, spread eagle between lab 6 and 7. Dramatic timing, but if it kills you; you’ll find a way to haunt your ex's ass for the foreseeable future. And Miguel’s too, because if you’re having a bad day; then somewhere out there, he’s having a good one.
~~~
The apartment is still when Miguel gets back – unusually so. You’re not on the sofa, watching a mindless soap opera, or howling some song in the shower. And he’s had to deal with that most days for the past few weeks, a break in the peace and quiet he’s so carefully cultivated. Rigorous routine, they keep him together. He needed it; the way myth needs a martyr, the way flowers on a small grave needs a body. A tick-tick-tick in his head, that drives him a little less crazy after a morning run, or a good meal when he comes home. A countdown, he thinks, a mechanical clock whirring and puttering with a shake of its gears. He feels them stutter and start, slowing down, but not quite stopping. An ache so deep, he feels its creak with every step.
Absent-mindedly, he looks around the empty apartment, pulling at his ears.
When he was younger, Gabi would pull at his ears, to get him out of a book. Reading, always reading, whenever he could. At the dinner table, when his mamá would rap his knuckles with a wooden spoon and chuckle lightly at his little grimace. No en la mesa, Miguelito. Not at the table, Miggy. Léeme más tarde – read it to me later.
It was when he got his braces, and picked up a slight lisp. He stopped talking for a while, not completely; but a lot less, not as interactive in lessons. And it was always little Miguel, at the front of the class with his hand up to answer. It didn’t help that Gabi poked fun at him, often sneaking up to him to hiss in his ear: palms pressed together with a slithering motion, and then a strike to his ribs like una víbora - a viper , struggling to say his S’s. They’d fight because of it after, tousling on the floor of their bedroom in a mass of limbs, like pythons squeezing prey. Or at least, until their mamá rushed to separate them.
She didn’t like it when her boys fought; so they’d been forced to make up every time. He still has the scars to prove it.
Car magazines at first, and then the newspaper, whatever book he had picked up at the library that week. Even with his lisp, his mother made sure he read to her, and sometimes to Gabi as well, at least once a week. Looking back, she was never perfect; the things he knows now about his dear mamá, and her visage tumbles like Ozymandias in the sand. Her mother, married to a piece-of-shit mechanic; and his mother, elbow deep in the oil spill. That’s the funny thing about love, he thinks. Love, and the lack of it; dripping through the cracks, passed on through generations. Maybe mamá felt the gears shuddering in her chest. He hopes Gabi was saved from that burden.
A small voice at the back of his mind tells him: it’s not enough. Doesn’t explain the little boy pulling at his ears, in Miguel’s jacket and dress shoes.
A glimpse in the reflection of a shiny pan on the side table, and he looks like shit. Eyebags, a permanent scowl, shadowy lines that prick at the corners of his eyes. It’s ironic, crows feet without the penchant for laughing. He thinks you’d find it funny. The pink and purple of a setting sun spills in through windows and makes him sigh. It’s late, and you’re still not home.
God, you're strange; sticking your nose where you shouldn't. Disrupting the calm of his apartment. A sanctuary, and you've got your grubby paws all over it. Your shit is all over the place; pun-based mugs in the cabinet, chewed pen lids with no pens in sight, a blanket on the couch. The same blanket, a ratty old thing, that he usually meets you wrapped in when he gets back. A creature of habit, he folds it up; trying to ignore the whispers of your perfume, sweet and heady on the fabric.
He gets dressed, starting with dinner; knife on a chopping board cutting onions and peppers into cubes. It's therapeutic, the steady thud ringing out into the kitchen. Quiet, for a fleeting moment. But the worry, it sticks ; despite his better judgement. Before he changes his mind, he clicks open his phone to call you. It rings out – you don’t pick up.
The urge to call again is surprisingly troublesome, so he shoves it down with a piece of tortilla. It sits in his chest, regardless.
~~~
You trudge into the apartment. Squelch seems more accurate, sopping wet as you step out of waterlogged trainers. It was an inopportune time to wear jeans and forget a jacket – and you fight the urge to wring out onto the wooden planks. Miguel would kill you; the place was already falling apart, and water-warped floorboards might just be the last straw.
It’s thundering outside; a torrential downpour you’d just been dragged through. Dragged, half-running through streets-turned-streams, with nothing but a tank top and hoodie on your back. And you must look a sight , eyes bleary and slick with rainwater. The bag heavy on your back goes first, slipped off your shoulder and on the floor next to the coffee table with a thunk . You’re unzipping the flimsy canvas, inspecting its contents. A soaked through textbook, clumps of loose paper. You’re ready to cry when you see what's happened to the pages of your lab book; bleeding ink that’s only half-legible. But it’s the state of your laptop that makes your chest really heave and knees weak.
It’s slick with rainwater, and the sandwich you’d forgotten to eat, smeared across its fans. Caked on, more accurately; an odd sludge that you try your best to wipe away. You put it on the coffee table and your hand shakes as you press the power button. A click, a stuttering whir, and the screen flickers on. Then, just as strained, it putters off. Dead. Completely dead.
You sink onto the floor, head in your hands between the coffee table and the couch. Everything was on there: photos from senior prom, end of semester projects – your whole life. You have to dig your teeth into your bottom lip to bite back a scream.
Miguel peers from the kitchen, watching your silent breakdown. Quiet, and so still, with only the slight shake of shoulders to tell him that something is wrong. He glances at your half-opened laptop. He’d eaten already, clearing up what remains of his dinner and this is the sight he’s greeted with: the lady of the lake, lain between the reeds.
He shakes the image out of his head, and walks over. You feel a tentative prod, and look up.
“...I called you,” He says lightly, scratching at his neck.
You blink up at him. He thinks you look like a painting, watery and forlorn, framed in the yellow light of the soft bulbs.
“I was busy,” It’s not said with malice, nor as lilting as your usual sarcasm. Plain, simple. Busy. Your head slumps back into the little hollow you’ve made with your arms.
And so he sits, shoulders brushing against yours. He’s frustratingly patient, presence warm and comfortable despite… well, despite everything.
You can’t help it. Popping back up, you state, “You never call, though.”
“You’re never this late home.” Home. The word is heavy, knocks you onto your heels.
“So?” You shrug. “Could’ve been out with friends, or at a club–”
Laughter slips out like apples loose in a bag, spills onto the floor. Crisp, sweet; but you glare at him all the same.
“You don’t have friends.” He says it with the remnants of a smile, teasing. A challenge, and you’re more than happy to accept.
“ Not true , fuckface.” It is. You'd lost track of most of your friends after moving – and all the ones you made here? Your friends were Jamie's friends, and they chose him in the divorce. " You don't have any friends."
"I do ."
"You don't." It's your turn to scoff. "It's a Friday night and you're in here, washing up and planning to go to bed at a reasonable time."
"I'm an adult, doesn't mean I don't have–"
"The ones you fuck don't count." And then you pinch the bridge of your nose. "God forbid, if that's how you treat your friends…"
He laughs, properly, and you feel it in your chest too: the kind of laughter that bubbles like little breaths rising to the top of a lake.
“M’serious.” He says it in between gasping breaths and you try to steady your own giggles. "And, I have a friend who could take a look at your laptop, if you wanted."
His eyes flick over to the crime scene besides you. It's sweet, but.. "It's gone, Miguel, I know. You don't need to… try and make me feel better."
" Chula ," He flicks the deep lines forming at your brow. You look up and he says, softly, "I'm not trying to make you feel better. I'm trying to get you off of the floor so I can mop up that puddle."
With the way he says it, with that little smile, you don't believe him.
Now he's got your attention, he says, "You could've skipped that 9:00am. Or just been late. Don't think it would've mattered."
"Maybe." You shake your head. "M'not the best student. I'm blindingly… average. Just wanted it to be different, this year."
Your voice crackles, leaves something in the air he can't quite name. Quiet, again, except this time it's thicker. Smoke, ash, rolling clouds of melancholy in the little front room. For once, he doesn't know what to say.
You've got your head back on the sofa now, with a deep sigh. You look at the ceiling, and he's looking at you. It's the first time he's able to really study your features, trace the outline of your lips and sloping cheekbone. Your lashes, damp with little droplets of water, look crystalline in the light. Sparkling. Like the paintings depicted in the hefty book sat on his coffee table. He's read that one, twice , cover-to-cover in a fit of… insanity, maybe. He's not a man of frills and fancy, didn't really get it; nor why Gabi had given him the book in the first place. It felt like a filler piece, something to put on the little table and forget about, or to prop up a wooden leg. But that's not how his brother works, frustratingly convoluted. It's stupid, Miguel thought. Everything had to mean something , or what was it good for?
But looking at you, here, like this ; it clicks. Reaching over for the book, he leans it against the flat of his thigh. And you see it in the corner of your eye, watching as he flicks through the pages. Filled with art, it's the kind of thing on a table in a model apartment: a space-filler in a false home. When you first came here, the starkness and severity of the space had stuck. To you, the book had only reinforced it. Who was Miguel? A serial killer for all you know, stocking fluff pieces and coffee table books; only pretending to be human.
Finally, he stops, finger over a specific place. A double page spread, of surprisingly good quality.
He clicks his tongue. " This one. "
You follow his finger. A woman in a lake doesn't do it justice. It's beautiful, but it doesn't mean anything to you.
" Ophelia, John Everett Mills, 1852 ." He reads out the little label at the bottom of the image. "Like from Hamlet."
You shrug. "I don't…?"
"Well, she's in love with Hamlet, and then her father's murdered, Hamlet fucks off; and she's left heartbroken, goes mad because of it , arguably–"
"I've taken tenth grade English, Miguel. I don't get what that has to do with anything."
"She drowns herself. Also arguably, to be fair," He chews his lip, thinking. "Slipped off the bark of a willow tree, into a brook. Incapable of her own distress, or something. Drowns. Do you know how horrible drowning feels? How violent? And yet–"
He taps the page, and you come a little closer. Beautiful. She's beautiful.
"I'll admit it, I'm not a big fan of Shakespeare. Gabi – my brother – is way better at this stuff than me. Drama and intrigue and–" He gestures vaguely. "– love . That's why he likes it, apparently. And I… I know someone who really liked this page; I think it was the colours, or the flowers…? She said it looked like a photo, and that the woman looked so pretty in the water."
He pauses, dead-eyed. He's rambling, only taking a breath to compose himself." I… didn't have the heart to tell her that Ophelia, in this painting, is dead. Dead as a fucking doornail. Dragged through still water, sentenced to death by her passivity and grief – but you wouldn't know it."
Unconsciously, you trace the outline of her hair with your finger; swirling locs that blend into muddy reflections. She's on her back and fully dressed; a beaded skirt billowing out into the water. On her back and looking up, like you were on the sofa just a moment ago. Oh. Oh . You blink at the image. Flowers, peppered around to frame Ophelia in her watery grave. It doesn't look like a grave from where you're sitting, but there's a body in the water all the same.
There's a lump in your throat. Grief; the loss of 4 years of your life in a middling relationship, the aftermath of dead eyes and brilliant blue slashed from a canvas frame. Grief, rising to the surface like a bloated carcass. You thought you'd bound its ankles to cinder blocks and tossed it in a river long ago.
"I'm probably overstepping. For that, I'm sorry, and I mean it. But I think there's something else. I..I hear you rattling around at night; and sometimes, when I look at you..."
Your eyes are glassy, tears threatening to spill over. You’re hearing him but you don’t quite understand. Does he know? God, does he know?
"...it reminds me of this painting. You remind me of Ophelia .”
He sighs, turning to you.
“I know how it feels. And I think this shit is going to kill you, if you're not careful."
~~~
He doesn't talk about it. He runs off to start the shower, bundles you into towels and leaves you reeling. God, it's like you've been shot – barely a 10 minute conversation and he's cracked open your ribs to root around in what's left of you. He sees you; wades through the undergrowth and cuts through the bulllshit - he sees you.
You couldn't even answer. That's what stings the most.
You’ve settled on the sofa, cross-legged and still fresh from the shower. There’s a documentary on the TV; mindless background to Miguel clattering in the kitchen. He’s putting together some leftovers, even though you insisted that you weren’t hungry, that you’ve already eaten. Well , he had pointed to the gunk caked onto your laptop, wasn’t that the problem in the first place?
He’s good at it; wraps you up in the blanket you always keep draped on the cushions, and hands you a full plate. Wordlessly, because you suppose he’s said everything he needed to. Dutifully, he takes care of you, without a word; the strain of cutting you open on the coffee table clearly too much to bear.
You thank him, and he settles on the armchair opposite, mug of coffee in hand. The gloom of the TV bathes him in light, cuts his cheekbones and jaw just so. One of your mugs in his lap, and he's in a thick knitted sweater. His hair kisses the tops of his lashes, but he brushes it away. You swallow thickly, and when he turns, you look away.
“...You okay?” He asks, confused.
You nod, unable to speak. He gives you a small smile, the corners of his eyes crinkled up like crepe paper. You return it with one of your own.
He sees you. Finally, you see him too.
_
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music theory lesson 1 - note names, clefs, and the staff
hello hello!! this is the start of my (hopefully weekly) music theory lessons!
todays focus is note names, clefs, and the staff, which are the foundation of western written music.
notes
western music is composed of 12 tones, or notes, which repeat in groups called octaves. when looking at a full 88 key piano, the notes start at A0 and end at C8. C is the "beginning" of each octave, with the octave number corresponding to each note being determined by which octave C is in.
the notes circle from A to G, with additional markings known as flats (♭) and sharps (♯) slightly changing the pitch. flats make it slightly lower, while sharps make it slightly higher. flats and sharps are grouped together as accidentals, and each accidental corresponds to a black key on the keyboard.
each note has a corresponding flat and a corresponding sharp, each with an enharmonic equivalent. enharmonic equivalents are when 1 pitch has two names to refer to it. these include:
C♯ and D♭
D♯ and E♭
E♯ and F
E and F♭
F♯ and G♭
G♯ and A♭
A♯ and B♭
B♯ and C
B and C♭
notice the orange in that list: why is it that one of the notes in each of those pairings is not accompanied by an accidental marking? this is because there is not room for those notes to be made higher (E, B) without it simply becoming the next note name (F, C). this is seen on the keyboard, as there is not a black key between B and C or E and F.
clefs and the staff
there are 4 main clefs in western music: treble, bass, moveable, and rhythm
the treble clef, also referred to as the "G clef", is the highest clef, and it looks like this:
this is where the staff comes in. the staff is what we call the lines and spaces you see in the above image; those lines and spaces tell you what note name you are playing or singing. the clef tells you what note corresponds with each line and space.
in treble clef, the 5 lines, from the bottom up, are E4, G4, B4, D5, and F5, while the four spaces are F4, A4, C5, and E5.
next is the bass clef. the bass clef is the lowest clef, and is also referred to as the "F clef". it looks like this:
in the bass clef, the lines are G2, B2, D3, F3, and A3, and the spaces are A2, C3, E3, and G3.
these two clefs can be combined into something that is referred to as the grand staff, mostly seen in piano music. it looks like this:
but how are they connected? A3 doesn't connect to E4.
well, that's where these things called ledger lines come in. ledger lines are lines that are added above or below the staff to add more notes. this is a grand staff with notes connecting to each other:
"middle C" is also known as C4, which is how the two clefs meld so seamlessly.
next is the moveable clef, or the "C clef", which is a bit more complicated. the moveable clef looks like this:
the notes in the clef are determined by which line the center of the clef is on, and that line is always C. here are the most common examples:
the most commonly used moveable clef is the alto clef, which is pictured in the center. the viola of the string family reads in alto clef; the other clefs are not used nearly as often.
the final clef is the rhythm clef, which looks like this:
this clef is used for unpitched percussion instruments, such as the snare or bass drum. there is no actual staff, as there are no notes or pitches to be identified, only rhythms.
i hope this was helpful and/or enjoyable!! if you have any questions, feel free to ask them!!
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