Broken

Strings

  4  
Nina Woodford

 4           
     
S A

 4   
 4
Let me hold you for the last time It's the last

 4
T B

 4   
 
  4 
4  
Piano

      
           
      
4

   

chance to feel a gain But you broke me, now I can't

 
   
 
  
 
       
           
        
7

    

feel an y thing When I love you rings so un

 
  


 

     
 
      

    
             
    
11

   

true I can't e ven con vince my self When I'm spea


   

        
           

     
              
  
14

    

king it's the voice of some one else. Oh it



         
   
     
        

   
 
2
   
      
                  
18


    

tears me up. I try to hold on, but it hurts too much. I


     
         
 

  
    

  
       
             
22


   

try to for give, but it's not e nough to make it all O. K.


    
   
 
   

     
           
     
25

   

You can't play on bro ken strings. You can't feel



       
     
         
         

3
       
    
            
28

   

a ny thing that your heart don't want to feel.

  
        
     
        
         
               

   
             
    
31

   

I can't tell you some thing that ain't real. Oh, the truth


           
       
 
                       

    
          
      

34

   

hurts a lie's worse. How can I give a ny more



          
   
                 
       

4
  
    
            
37

   

when I love you a lit tle less than be fore?


       
   
         
               

     

 
40


    
       
  
     

  

Oh, what are we do ing? We are turn

   
 
 
           

      

44

      
       
                  

 
  
     
ing in to dust Play ing house in the ru ins of us.

  
    
    

5
       
      
          
    
49

  
                   
  

    
Run ning back through the fire, when there's noth ing left to save.

   
       
            

         
             
 
53

             
        
  

   
It's like chas ing the ver y last train when it's too

 
     
           
 

   
            
      
56


 
             
 
Late. Too late.

   
   
     
late. Yeah. Oh, it tears me up. I

       
 
     
        

6
  
      
                 
60

        

                


   
try to hold on, but it hurts too much. I try to for give, but it's not

   
  
 
    

   
        
          
63


 
     
              


   
e nough to make it all O. K. You can't play

     
 
   


      
             
   
66

      
   
              


         
on bro ken strings You can't feel an y thing

    
 
                 
       

7
      
       
          
69

      
  
             
  
       
that your heart don't want to feel. I can't tell

    
      
         
               

    
               
  
72

    
                 
 

        
you some thing that ain't real Oh, the truth hurts a

       

                         

    
             
  
75

   
               
 

        
lie's worse. How can I give an y more, when I love

    
                         

8
   
     
         
78 To Coda

  
    
          


     
you a lit tle less than be fore?

    

         
               

   
  
           
  
81

            
    

  
         
     
Oh, we're run ning through the fire, when there's noth


         
               

         
              
 
84

      
       
       

 

   
         
    
ing left to save. It's like chas ing the ver y last

         
               

9
       
         
        
87 D.S. al Coda

     
                   
  
   
        
        
train when we both know it's too late. Too late. You can't play.

                  
   

   
              

    
91

       
                 
fore? Oh, you know that I love you a lit tle less

  

  
Oh, oh, oh A lit tle less

    

 
                       

  
          
         
94

 
  
             
than be fore Let me hold you for the last

   

    
a lit tle less than be fore Let me hold you for the last

  
         
     

10
    
            
98

  
 
        
time. It's the last chance to feel a gain.

   

  
time. It's the last chance to feel a gain.

 
 
  
 

11