And

So It Goes By Billy Joel

Arr. Kirby Shaw
Ad. Paige Mecyssine

   = 58
        
Soprano                   
   
 


   
                              
   


  
In ev 'ry heart there is a room a sanc tu ar y safe and strong. Toheal the wounds from lov ers

Alto

                          
          
 In ev 'ry heart there is a room a sanc tu ar y safe and strong. Toheal the wounds from lov ers

    
Tenor

   
              
      
 In ev 'ry heart there is a room a sanc tu ar y safe and strong. Toheal the wounds from lov ers

Bass
   
In ev 'ry heart there is a room a sanc tu ar y safe and strong. Toheal the wounds from lov ers


 
S                                     

7

     


               
    
        
past, un til a new onecomes a long. Ispoke to you in cau tious tones; You ans wered me with no pre


A

         
                         
past, un til a new onecomes a long. Ispoke to you in cau tious tones; You ans wered me with no pre

      


 
           
  
past, un til a new onecomes a long. Ispoke to you in cau tious tones; You ans wered me with no pre

B
         

past, un til a new onecomes a long. Ispoke to you in cau tious tones; You ans wered me with no pre
   
     
S                                
     
13

 
             


   
                      
tense. And still I feel I said too much. My si lence is my self de fense. And ev 'ry time I'veheld a rose, it


A



   
            
             
      
    
tense. And still I feel I said too much. My si lence is my self de fense. And ev 'ry time I'veheld a rose, it

T
 




                                
  
tense. And still I feel I said too much. My si lence is my self de fense. And ev 'ry time I'veheld a rose, it

B
          


                         
tense. And still I feel I said too much. My si lence is my self de fense. And ev 'ry time I'veheld a rose, It

S               

20

      


                              
seems I on ly felt the thorns. And so it goes, and so it goes And so will you soon, I supp ose. But if my


A

 


 
           
         

            
seemsI on ly felt the thorns. And so it goes, and so it goes And so will you soon, I supp ose But if my

T 


     


                  
    
seems I on ly felt the thorns And so it goes, and so it goes And so will you soon, I supp ose. But if my

B
      
 

seems I on ly felt the thorns. And so it goes, and so it goes And so will you soon, I supp ose. But if my

2
    
S                  
 
      
 
26

      
                            
si lence made you leave, then that would be my worst mis take. So I will share this room with you And

                         
    
si lence made you leave, then that would be my worst mis take. So I will share this room with you And

T

     
   

 
    
 
    

si lence made you leave, then that would be my worst mis take. So I will share this room with you And

B
    
si lence made you leave, then that would be my worst mis take. So I will share this room with you And

         
            
                     

 
32


S


                                      
 

you can have thisheart to break. mm... And this is why my eyes are


   
A



           
         
  
                 
you can have thisheart to break. mm... And this is why my eyes are

 
T

            


                    
      
  
you can have thisheart to break. mm... And this is why my eyes are

B
    


                       
you can have thisheart to break. mm... And this is why my eyes are


                 
39

       
                                
closed, it's just aswell for all I've seen. And so it goes, and so it goes And you're the on ly one who


A

      
                 
                  
closed, it's just aswell for all I've seen. And so it goes, and so it goes And you're the on ly one who

                
          
                 
closed, it's just aswell for all I've seen. And so it goes, and so it goes And you're the on ly one who

B
 
closed, it's just aswell for all I've seen. And so it goes, and so it goes And you're the on ly one who

3
   
S    
                
    
  
  


45

      
         
                
knows  So I would choose to be with you. That's if the choice were mine to make. But you can make de ci sions


A

   
 


          
 
            
 
 
knows So I would choose to be with you That's if the choice were mine to make. But you can make de ci sions

         
        
         
knows.  So I would choose to be with you That's if the choice were mine to make. But you can make de ci sions

B
    

 
                       
knows.  So I would choose to be with you That's if the choice were mine to make. But you can make de ci sions

S                   
    
51

            
       
                         
too. And you can have thisheart to break. mm...  And so it goes, and so it


A

                                
            
too. And you can have thisheart to break. mm...  And so it goes, and so it

  
T 

                     
       
 And so it goes, and so it

        
too. And you can have thisheart to break. mm...

B
     

  
too. And you can have thisheart to break. mm...  And so it goes, and so it

          
 
59

 
dim.

     
 
goes, And you're the on ly one who knows.

   
A

 
dim.

         
goes, And you're the on ly one who knows.

 
T

dim.

     
    
goes, And you're the on ly one who knows.

B
     
dim.
goes, And you're the on ly one who knows.