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And So It Goes - SATB A Cappella

This document contains sheet music for the song "And So It Goes" by Billy Joel. The sheet music displays the lyrics and musical notes for soprano, alto, tenor and bass voice parts. It arranges the song for four-part a cappella singing.

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Jonna Inge
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100% found this document useful (1 vote)
961 views4 pages

And So It Goes - SATB A Cappella

This document contains sheet music for the song "And So It Goes" by Billy Joel. The sheet music displays the lyrics and musical notes for soprano, alto, tenor and bass voice parts. It arranges the song for four-part a cappella singing.

Uploaded by

Jonna Inge
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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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.

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