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She loved him like he was
the last man on earth.
Gave him ev ’ry thing she ev er (C)had.
He’d break her spir it down,
then come lov in’ up on her.
Give a lit tle, then take it back.
She’d tell him ’bout her dreams;
she he’d n’t just to shoot ’em down.
He Lord, he loved to make her (C)cry.
“You’re cra zy for be liev
found a note by the win dow ground.”
with the cur “On tains blow in’ gels in the (C)breeze.
to fly.”
And with a bro ken wing
she still sings.
She keeps an eye on the (C)sky.
With a bro ken wing,
she car ries her dreams.
Man, you (G)ought to see her (C)fly.
She’d Sun day morn in’ dreams;
she did n’t go to church.
’em down.
He won dered why she did n’t (C)leave.
He to the bed room, liev
found a note by the win dow ground.”
with the cur “On tains blow in’ gels in the (C)breeze.
to fly.”
And with a bro ken wing
she still sings.
She keeps an eye on the (C)sky.
With a bro ken wing,
she car ries her dreams.
Man, you (G)ought to see her (C)fly.
With a bro ken wing,
she car ries her dreams.
Man, you (G)ought to see her
(CN.C.)fly.
This page shows “A Broken Wing” by Martina McBride in our color-coded kid songbook view — every note is colored by pitch (red C, orange D, yellow E, green F, blue G, purple A, pink B) and the lyrics sit directly under each note, so children can sing along while they play. The song is in the key of C at 102 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a great way to build your left-hand independence with an oompah bass pattern — that means your left hand plays a single bass note on beat one, then the chord on beat two, alternating steadily throughout. At 102 BPM it's comfortably paced, but keep it slow at first so that bass-chord rocking motion becomes automatic before you layer in the right-hand melody. Watch the Dm7 and Em7 shapes especially: those seventh chords can feel slippery if you're newer to them, so isolate each transition — C to Dm7, Em7 to Am — and loop it until the reach feels natural. Use sustain pedal lightly, refreshing it with each new chord so the sad, open sound doesn't turn muddy. Try hands-separate practice for the first few passes, then combine at half tempo. This is the piece that'll make oompah feel like second nature in your playing.