Free Star Crossed (Starlight #3) by JS Taylor

I’ll be honest Summer, I’d probably struggle to sing it myself. But like I said, you’re not just any singer. You can do more.’
    I frown, thinking over what he’s saying. The truth is a part of me knows he’s right. I could push myself harder. But that would be a risk. I might not hit the notes on the night. Surely it makes more sense to stick with a solid range which sounds good?
    ‘ What did you have in mind?’ I say cautiously.
    Adam picks up a guitar, and strums the chords leading to the end of the song, part humming, part singing the words.
    ‘ This part,’ he says, keeping the rhythm of the song, ‘where you drop to a middle C. I think it would sound incredible if you pitched the next note at a top E.’
    My eyes widen.
    ‘You’ve got to be kidding me!’ I say. ‘That’s impossible.’
    ‘ Not for a really talented singer,’ says Adam. ‘All the greats have pulled it off.’
    He studies me for a moment.
    ‘In fact,’ he adds, ‘I’m betting you’ve already done it.’
    ‘ What makes you think that?’ I demand.
    ‘ Because I know you Summer Evans, and I know how much music means to you. And in all those years struggling to get to the top, I’m guessing you will have been told that only a few singers can achieve high E after middle C, and you gave it a go yourself.’
    ‘ Well, obviously I’ve tried that note combination,’ I reply. ‘What professional singer wouldn’t?’
    ‘ Tried it and nailed it?’ suggests Adam.
    ‘ Maybe once or twice,’ I admit.
    The truth is, Adam is totally right about me. That particular note combination was an obsession for me as a teenager. I worked for hours until I could pull it off. But being in She’s All That meant I couldn’t expect George and Tammy to match that combination. So I haven’t sung it in years.
    ‘ I used to practise it quite a lot,’ I admit. ‘But I haven’t sung it in a long time. There’s no way I’m performance ready. And certainly not in a few days.’
    ‘ Try it,’ suggests Adam. And before I can object, he begins strumming the notes.
    I begin to sing, swept along in the momentum of the song. And when we reach the middle C, I breathe it out, collecting myself, before pitching up high for the top E.
    Arrrgh!
    I miss the note completely, and the end result sounds awful. I wince, totally mortified. It’s the first time I’ve sung out of tune in front of someone, perhaps ever.
    ‘ You see?’ I say, angry that he pushed me to embarrass myself. ‘It sounds awful. I’m way out of practice.’
    Adam doesn’t look convinced.
    ‘You weren’t so far out,’ he says. ‘I think a few days practice and you’ll nail it every time.’
    ‘ But I only have a few days,’ I point out, exasperatedly. ‘What if I practise and I don’t get there? Then I’ll have to sing something on the night which I haven’t rehearsed for.’
    ‘ It’s a risk,’ admits Adam. ‘But risks are what makes great music. Bravery is always rewarded.’
    ‘ I’ll be under a lot of pressure performing,’ I point out. ‘Wouldn’t it be more sensible to sing something I know I can pull off.’
    Adam considers this. ‘I suppose so,’ he says. ‘But in my experience, really gifted people come into their own under pressure. I don’t think it will break you. I think it will make you shine.’
    ‘ That’s only your opinion,’ I say, feeling a mountain of pressure. The memory of that missed note still has me burning with shame. It would be absolutely my worst nightmare, to sing off-key on stage.
    Just the thought of it brings me out in a cold sweat.
    ‘Let’s just see how the next few hours go,’ I suggest, playing for time. ‘I’ve still got loads of work to do on the song. We can perfect it and then talk about whether it needs a massive end note.’
     
    We spend the next few hours composing, and I feel something shift in Adam. Like he’s opened up, but he’s sad at the same time. I get the feeling, that hearing my lyrics about him