On the (Em)first part of I the jour ney free I was (Em)look ing at all the life.
There were (Em)plants and birds and rocks and things, there were (Em)sand and hills and rings.
The (Em)first cean thing I met ert was a (D6/9)fly with a buzz and the (Em)sky fect dis guise with no clouds.
Un der The (Em)heat ies was hot and the (D6/9)ground made was dry, but the (Em)air mans was full of sound.
You see, I’ve (Em9)been through the des ert on a (Dmaj9)horse with no name.
It felt (Em9)good to be out of the (Dmaj9)rain.
In the (Em9)des ert you can re (Dmaj9)mem ber your name ’cause there (Em9)ain’t no one for to (Dmaj9)give you no pain.
(Em9)La la la (Dmaj9)la la la la la la (Em9)la la la.
(Em9)La la la (Dmaj9)la la la la la la (Em9)la la la.
Af ter (Em)two days in the (D6/9)des ert sun, my (Em)skin be gan to turn (D6/9)red.
Af ter (Em)three days in the (D6/9)des ert fun, I was (Em)look ing at a riv er bed.
And the (Em)sto ry is told of a (D6/9)riv er that flowed; made me (Em)sad to think it was (D6/9)dead.
You see, I’ve (Em9)been through the des ert on a (Dmaj9)horse with no name.
It felt (Em9)good to be out of the (Dmaj9)rain.
In the (Em9)des ert you can re (Dmaj9)mem ber your name ’cause there (Em9)ain’t no one for to (Dmaj9)give you no pain.
La (Em9)la la la (Dmaj9)la la la la la la (Em9)la la la.
La (Em9)la la la (Dmaj9)la la la la la la (Em9)la la la.
La
Af ter (Dmaj9)give you no pain.
La (Em9)la la la (Dmaj9)la la la la la la (Em9)la la la.
La (Em9)la la la (Dmaj9)la la la la la la (Em9)la la la.
La
This page shows “A Horse With No Name” by America 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 B at 132 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great way to build confidence with extended chord voicings — you're working with D6, Dmaj9, Em, and Em9, which means your right hand needs to land cleanly on those added color tones (the 6ths and 9ths) without hesitation. The good news is the song essentially rocks between two chord families, so once you nail each shape, transitions become predictable. Your left hand handles an octave bass pattern at 132 BPM, which is brisk enough that you'll want to start around 90 BPM and build up gradually — rushing the tempo before your octave reach feels relaxed is where most stumbles happen. Practice hands separately first: lock in the left-hand octaves until they're automatic, then layer in the right-hand voicings. Watch the shift from Em9 to D6 especially; that's where fingers tend to fumble because both shapes sit close together. Keep your wrist loose and use a light pedal to sustain the peaceful mood without muddying those extended harmonics. This is the piece that'll make jazz-flavored voicings feel like second nature in your hands.