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Massive

Attack - Teardrop
piano arrangement by Vika Yermolyeva

 44                       
 = 80

                
 44   
 


             
              
6

  
   
 
          

     
       
    
        
10

        
       

  
          

           
            
                
 
14

   
              
    
     
   

      
                 

18

   
                  
    
    
  

              
       
                
21

   

    
      
     
      
 
            

 
   
24

           

                         
           
          
  
                       

8

 
28

       
                    
 

         
     

      
     
  
            
8

     
32

              
        
    
  
             
     
        
            
35

  
               
  
    
 
                
 
      
            

39

 
   


8
2
   

 

 

 
               
43

  
               
             
        
              

      
8 8 8

   
47

         
    
    
               
          

                
 

  

      
51

       
          
   
   
 

        
      
           
55

  
            
       
 
          
         

   
59

         
   
      
    

     
64

   
       
       
 
3
Recorded by FLEETWOOD MAC

Don't Stop
For SAIB* and Piano with Optional Instrumental Accomoanimenr

Performance Time: Approx. 2:35

Arranged by Words and Music by


KIRBY SHAW CHRISTINE McVIE
Shuffle G = 12SX.E =]'J)
F BblF F BbilF F BblF

ê-_- _---ê

tr
Soprano rJnls.mf

If wake- up and don't want to smiler-


Tenor rJnis.nf,.

* Available for SATB, SAB and SSA


ShowTlax CD also available
Instrumental ePak includes parts for
Trumpet I, Trumpet II, Tenor Sax, D01t0T
Trombone. Guitar. Bass and Drums PHOÏOCOPY
For more information on ePaks visit www.halleonard.com/choral

Copydght O I 976 by Careers-BMG Music Publishing


Copyright Renewed
This mangement Copydght O 2006 by Careers BMG Music Publishing
Intemational Copyright Secured Ail Rights Reserved
o- pen your eyes,

DON'T STOP_ SATB


stop, soon- be
i:t
ner€.
rJ-r

'./
be- bet - ter than be fore.-
1-
5

(2nd time) To Coda fp.O O


.'
--J
ter - day's gone,- yes ter - day's gone.

4,--

Bb/C C

Why nol

-t .:

DON'T STOP _ SATB


If your life seems_
í- 3 ---1
-3-r

and not a- bout- the things that you've done?

D.S. al Coda (p.4)


think what to mor - row can
ri__-3*----
do?-
3

CTESC,

oo.
cresc.

r BbLC

-3

$ coor

DON'T STOP_ SATB


(Opt. soto)IJnis.mf -
--2-- 1
-

All I want is to
F

See- you

DON'T STOP_ SATB


lit - tle

know you don't


F

don't be - lieve it's nev - er meanl an-y

lieve that it,s nev - er meant an-y

Ftrr

think -

harm- to

3 G/D
3
- (ll soon- be
r3-r
h;.'-r It - 'll bet -
Unis.
;----\__

-
'/
ter than be - fore._ Yes - ter - day's gone, yes -

C/D D
ter - day's gone.-

3
- 'll soon be *';.'-J rt - 'll bet -
rJ-r Unis. t-----=--'.

DON'T STOP _ SATB


- ter than be - fore._ Yes - ter - day's gone,

ClD D

Don't

ClD G
q=64 Easy a.p.b. Faith no more
Originaltonart
INTRO Ab Cm Bbm Eb7omit3 Ab Cm Bbm (Eb7omit3)
    
          
  

  
           
    


           

 
bass slides

 
         
  

               

VERSE


Ab Cm Bbm Eb7omit3 Ab Cm
           
       
5

       
I know it sounds fun - ny but I just can't stand the pain. Girl I'm leav - ing you to - mor - row.

 
Bbm Eb7omit3 Ab Cm Bbm Eb7omit3

   
8

                  
(straight 8ths)

Seems to me girl you know I've done all I can.


      
Ab Cm Bbm Bbm/Eb
              
   
11

 


You see I beg, stole and I bor - rowed. Yeah! Ooh! That's why I'm ea
CHORUS


Ab Cm Bbm Eb7omit3 Ab Cm Bbm Eb7omit3
      
             
14

          
- sy! I'm ea - sy like Sun - day morn - ing. Yeah, Yeah! it's why I'm ea

      
 
     
     
A - a - a - ah! A-a - a - ah!

                       
18 Ab Cm Bbm Eb7omit3 Gb Db/F Eb9sus Ab

              

- sy! Yeah, yeah! I'mea - sy like Sun - day morn - - ing. I wan - na be

     
          
A - a - a - ah!
BRIDGE

 
Gb Fm Ebm

Fm
 
Gb
        Fm

Ebm
       
Fm

               
22

 
3 

high, so high! I wan - na be free to know thethingsI do are ri - i - ght! I wan - na be free,

26

  
Gbma7 Fm7

Ebm7
  
3 Cb  Gb

Cb/Eb
 
 
Db
  
          

  
 
 
just me! Oh ba - by!
2
SOLO


Ab Cm Bbm Eb7omit3 Ab Cm Bbm Eb7omit3 Ab

   
31

           
           
   
 

 Bbm3 Cm

Cm Bbm Eb7omit3 Ab Eb7omit3
    
35

              
    

           
 

         
That's why I'm ea

CHORUS

   
Ab Cm Bbm Eb7omit3 Ab Cm Bbm Eb7omit3
      
40

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

sy Yeah, yeah! it's why I'm ea
     
I'm ea - sy like Sun - day morn - ing.

       
         
A - a - a - ah! A-a - a - ah!

       


44Ab Cm Bbm Eb7omit3 Gb Db/F Eb9sus Ab

                    

  
- sy! Yeah, yeah! I'm ea - sy like Sun - day morn - - ing.
  
      

A - a - a - ah!
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BATMAN FOREVER (1995)

KISS FROM A ROSE


Words and Music by
SEAL
Slowly J. = 44
Gm

Ba ya ya ba da ba da da da ba ya ya. Ba ya ya ba da ba da da

Dl - 1
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ba ya ya. Ba ya da ba ya ya. There- used to be a grey-ing tow - er a - lone on the

I sea.- Y o u be-came the light on the dark side of me.- But love- re-mains a

Kiss From a Rose - 6 - 1


0 1994 PERFECT SONGS LIMITED, 42 - 46 St. Luke's Mews, London W l 1
All Rights Reserved
drug that's the high and not the snows, my

I
I,,

I eyes be-come large and the light that you shine can't be seen. Ba -

I com-pare you to a kiss from a rose- on the grey.- The more I get of you the

Fsus

stran - ger it feels,- And now that your rose is in bloom,- a

I
Kiss From a Rose - 6 - 2
Vocal facet 2 time
G Gm

I light hits the g l o o m on the- g r e y . Ba ya ya ba da ba da da da ba ya ya.

1 2. There- is so much a man can tell you, so much he can say.- Y o u re-main my

I pow - er, my plea-sure, my pain. Ba - b y , to me you're like a growing ad-dic-tion that I can't de -

Won't you tell me, is that health-y babe. But did you know that when it snows, my

Kiss From a Rose - 6 - 3


I eyes be-come large and the light that you shine can't be seen. Ba -

Chorus:
-

I cl
by._ I com-pare you to a kiss from a rose- on the grey.- The more I get of you the

Fsus

I light hits the g l o o m on t h e grey.-

Kiss From a Rose - 6 - 4

i
Bridge: c

I been kissed by a rose- on the grey.-


I've
I've been
been

ill

kissed by a rose.- I've been kissed by a rose- on the grey.-


kissed by a rose- on the grey.-

Verse 3:
G

I There is so much a man can


I -
I've-
I've been
been
kissed by
kissed by
a
a
rose-
rose- on
.
the grey.-

KISSFrom a Rose - 6 - 5
( tell you, so much he can say.- You r e - main my pow - er, my plea - sure my

1 pain. To m e you're like a growing ad - dic - tion that I can't de -

G D.S. % ul Chorrcs and fade

1 eyes be-come large and the light that you shine can't be seen. Ba -

Kiss From a Rose - 6 - 6


H-L
SHATTERED DREAMS

Words and Music by


CLARK DATCHLER

Moderate Rock tempo


100
Dm Am7 B maj 7 Gm7

So much for your prom - is - es. They died the day you let me go.
Woke up to re - al - it - y and found the fu - ture not so bright

Dm Am7 B maj 7 Gm7

Caught up in a web of lies, but it was just too late to know.


I dreamt the im - pos - si - ble, but may -be things could work out right.

C G/B B maj 7 Gm

I thought it was you who would stand by my side. And now you've
I thought it was you who would do me no wrong.

Dm Am7 B maj 7

giv - en me, giv - en me noth - ing but shat -tered dreams, shat -tered dreams.

Gm Dm Am7 B maj 7 Gm9

Feel like I could run a - way, run a - way from this emp -ty heart.
heart. You've

1. 2.
Dm Am/C B maj 7 Gm Dm

(You said you'd die for me.) giv - en me, giv - en me

Am7 B maj 7 Gm Dm

noth - ing but shat -tered dreams, shat -tered dreams. Feel like I could run a - way, run a - way

Am7 B maj 7 Gm9

from this emp - ty heart.

Copyright © 1988 Music Of Stage Three o/b/o Stage Three Music (Catalogues) Ltd. (BMI)
All Rights Administered by BMG Chrysalis
11

ALL NIGHT LONG


(All Night)
Words and Music by
LIONEL RICHIE
Moderate Caribbean feel
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in the street,
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Raise the roof and
see the rhy-thm all

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Copyright C 1983 by Brockman Music and Brenda Richie Publishing


All Rights Reserved Used by Permission
12

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m their feet.
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Life is good,
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134

YOU MAKE MY DREAMS


Words and Music by
DARYL HALL, JOHN GATES and SARA ALLEN
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