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.