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    Two Little Lines

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    allie f
    This document contains the lyrics and musical notation for the song "Two Little Lines" by Drew Gasparini. The song tells the story of someone who is stressed and anxious while waiting for important test results, worrying about what their family will think. Over the course of the song, the person counts to five and takes deep breaths to calm themselves down, imagining that everything will be fine. They are reminded to relax and not let their life derail before seeing the results.

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    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd

    Two Little Lines

    Uploaded by

    allie f
    494 views11 pages
    This document contains the lyrics and musical notation for the song "Two Little Lines" by Drew Gasparini. The song tells the story of someone who is stressed and anxious while waiting for important test results, worrying about what their family will think. Over the course of the song, the person counts to five and takes deep breaths to calm themselves down, imagining that everything will be fine. They are reminded to relax and not let their life derail before seeing the results.

    Original Title

    two little lines

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    This document contains the lyrics and musical notation for the song "Two Little Lines" by Drew Gasparini. The song tells the story of someone who is stressed and anxious while waiting for important test results, worrying about what their family will think. Over the course of the song, the person counts to five and takes deep breaths to calm themselves down, imagining that everything will be fine. They are reminded to relax and not let their life derail before seeing the results.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    494 views11 pages

    Two Little Lines

    Uploaded by

    allie f
    This document contains the lyrics and musical notation for the song "Two Little Lines" by Drew Gasparini. The song tells the story of someone who is stressed and anxious while waiting for important test results, worrying about what their family will think. Over the course of the song, the person counts to five and takes deep breaths to calm themselves down, imagining that everything will be fine. They are reminded to relax and not let their life derail before seeing the results.

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    You are on page 1of 11

    Two Little Lines

    from "Circles"
    music & lyrics by Drew Gasparini

    Uptempo/Pop/Patter q=128


          


                
    Shit. Shit. Shit. Shit! I know that swear - ing is - n't help - ing it. But,

                   
                                     
    p 
      
     
      

      
    5

      


                     
     
    fuck!I've had e - nough this wait - ing is -'nt get - ting bet - ter. I'm sweat - ing and I'm shak - ing and I'm

          
                            

      
       

    8

                            


         
    dread - ing this mis- take. I can't pre - tend I'm dream - ing when I feel so damn a - wake. So I'll

                            
      
       

    Prepared exclusively for christina corso.


    2

       
    11


                         

    close my eyes, and I'll count to five, and I'll use that time to re - mind me of

                   
                                    
    molto
       
    
      

    15

       


                         
     
    things to keep my mind
     at ease like friends
     and school
      
    and fam - i - ly. My
     fam-i - ly.  What will they
                            
      
    
     

          


    18

           
         
    think of me? I don't know where I'm go - ing.
                        
               

     
    legato
      
         
      
     

      
    22

          
      
     

      


    But these re - sults bet - ter start show - ing.

      
              

      
          
      
    
    
    f

     
     
          

        

    Prepared exclusively for christina corso.


    3


                 
    26

        
     
    Take a mo - ment, re - lax, try to in - hale. And i - ma - gine that

                                      
            
    staccato

     
             
      
                

                  
    30

          



     
    ev - 'ry - thing's fine. Be - fore you no - tice your life start to de - rail, just re - mem - ber the

                                     

              
             
         

    34


                         
    fu - ture's still bright. So I'll give what I got whe - ther they like it or not. I'm not chang - ing the plot

             
                
              
    legato
     
         
         

    Prepared exclusively for christina corso.


    4

    38
     


                               
    to my sto - ry. I've got brains, I've got heart, I've got plen - ty of time.

           
                              
       

        
    
        
           



    42

           
             
    So why should I be scared of two lit - tle lines?

    
               
      
               
              
    molto f

      
      
      
                  
          


    46

                 

             
    There's a ring a - round the tub. This

                             
      
           
    meno

                
                  
    Prepared exclusively for christina corso.
    5


    50

                          


    bath - room sure needs scrub - bing. Look at that toi - let brush, just sit - ting in that scum.

          

         

    
       
        
      
    53


                                

    An y thing to take my mind off this,'cause more than like - ly if it's pos - i - tive I'll ne - ver face the world,I'll make this bath

          

         

    
       
    
      
       


    56
        
                  
     
    room mynew home. I don't know where I'm go - ing.

        
                        

     
    molto legato

     

          
       
      

    
    60


       
             
    So much for all I know.

    
                     
                     

     
     
          

        

    Prepared exclusively for christina corso.


    6


                 
    64

         
       
    Take a mo - ment, re - lax, try to in - hale. And i - ma - gine that

                                      
            

    molto staccato
     
                
      
                 

                  
    68

         


     
       
    ev - 'ry - thing's fine. Be - fore you no - tice your life start to de - rail, just re - mem - ber the

                                     

               
              
         

    72


                     
       
    fu - ture's still bright. So I'll give what I got whe - ther they like it or not.

                 
       
              

     
        
        

    Prepared exclusively for christina corso.


    7
    75

                                


    I'm not chang - ing the plot to my sto - ry. I've got brains, I've got heart, I've got plent - y of time.

           
                                     
         

      
           


    79
           
             

        


    So why should I be scared of
        
                    
         

     
      
         
                 


    83
          
               

             
    two lit - tle lines? This is the last

                                    


                 

                      
    solid 2 feel


                    


     
    88

                      
       
          
    thing that I want. The last thing that I need. And I know it can't be pos - i - tive.

        


          

              

     

                  
         

    Prepared exclusively for christina corso.


    8 sung with desperation.


    94

                       
    What if it's pos - i - tive? My prom dress.

     
     
       
     
     

             



    pp
          
      
          


        
    102

                    
      
    I won't fit in - to myprom dress. These flor - es - cent lights don't flat - ter, but i

             
        




         

    molto p
         
       
          

    108
      
                       


        
    mag - ine six onths fat - ter. I'll be dis - gus - ting. I'll look old. And put ev' - ry - thing on hold. Do

           
             
    f

      
      
        

    Prepared exclusively for christina corso.


    9

                          
    112


         
    ev' ry - thing I'm told by my folks who'd dis-own me. So lone ly. Andwho'd have thought this mes - sy chance would

         
                
        
    ff
      
      
        

    116


                              
    mean ninemonths in stretch- y pants, and the end of sen - ior year. The end of sev - en - teen. And,

                   
     
                  

      
     
       


    119
     
                               
    Tom! How do I drop the bomb?just tell him I'm gon - na be a mom? I just want my mom. I just

                   
     
                 

    cresc.

      
      

    Prepared exclusively for christina corso.


    10


    122
             
                   
    need my mom. Or I could run a - way.

             
           
                
    fff

      
    3 3
       
               
           
       
              

        
         
    127


                
    Run a - way Take a mo - ment, re -

              


             
           
    f staccato
     
     
    3 3
       
             
           
                   

                       


    132

      
       
    lax, try to in - hale. And i - ma - gine that ev - 'ry - thing's fine. Be - fore you no - tice your

                                     

               
            
          

    Prepared exclusively for christina corso.


    11


            
    136

              
        
    life start to de - rail, just re - mem - ber the fu - ture's still bright. So I'll give what I got

                             
       
        
    legato
          
           
           
    140

                            


     
    whe - ther they like it or not. I'm not chang - ing the plot tomy sto - ry. I've got brains, I've got heart,

         
                            
           
        
    
     
        


    144

                  

    I've got plen - ty of time.

          
     
                
              

     
      
            
              

    147

           
               


    So why should I be scared of two lit - tle lines?

        
    
                     
     
      
       
            
        
           
           
          
    Prepared exclusively for christina corso.

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