It's

Over, Isn't It?

Rebecca Sugar.
Steven Universe Arrangement by: Sinéad O'Donnell-Stolz


               


 = 125 (free-flowing)


Pearl

  
   
I was fine with the men who would

 
       

Piano

                     

5


Prl.

      
come in to her life now and a gain. I was fine, 'cause I knew that they

 
   
   
     
Pno.



            
        
9


Prl.

     
did n't rea lly matt er un til you. I was fine when you came, and we

       

       

Pno.
                     
13
3


Prl.

2
fought like it was all some sill y game. O ver her, who she'd choose. Af ter

     
     
poco rit.

    
3

 
 
   
Pno.

  


                 
   
17  = 115  = 130


Prl.


all those years I ne ver thought I'd lose. It's o ver, is n't it?

      
poco accelerando

  


 
     
 
Pno.

  
               
       


  
20

Prl.


     
is n't it ? is n't it o ver? It's o ver is n't it

            

 
          
   
Pno.

   
     = 135
     
            



24

Prl.


         
? is n't it ? is n't it o ver? You won and she


       
 
      
   
Pno.

   

2
        
             
28

 
3


Prl.


  
chose you, and she loved and she's gone. it's o ver is n't it why can't I move

   
      
       
 
     
     
Pno.

  
 = 140

              
poco accelerando,

   


33 ma non tropo

Prl.

  
  
on? War and Glo ry. Re in ven tion. Fu sion. Free dom.

   
     
          
   
Pno.

        

        
            



38

Prl.

        
Her att en tion. Out in day light, my po ten tial. Bold. Pre cice. Ex

      

         
   
     
Pno.

      
 
         
    
42


3

Prl.
3 3 3

     
per i men tal. Who am I now in this world with out her?

     
    
      
   
        
Pno.

    
 
3
  3   3       
      
3 3


45


3

Prl.

      
Pe tty and dull with the nerve to doubt her. What does it matt er it's

      
   
      


 
       
Pno.

  
   
                 
(Losing composure/control. Griev

     
48 3 3


Prl.



al rea dy done. Now I've got to be there for her son. It's o ver is n't it

  
               
  
      
 
Pno.

    

                
         



52

Prl.


     
? is n't it ? is n't it o ver? It's o ver is n't it

           
  
              
   
Pno.

   
           
          

56


Prl.

  
 
? is n't it ? is n't it o ver? You won and she

        
           
 


    
       
Pno.

    
 
4
      = 125
   
        
(fade out)


60

Prl.


4
  

  
chose you, and she loved you and she's gone. It's o ver, is n't it?

    
     
     
 

 
       
Pno.

 
rit.

  

         3     
      
65


Prl.

   
    
Why can't I move on? It's o ver, is n't it? Why can't I move

  
    
 

poco rit


Pno.

  

 
   
70


Prl.

   
   
on?

 
3


 molto rit.
3
Pno.

  