I’ve been so man y plac es in my (A)life and time.
I’ve sung a lot of songs, I’ve made some (B)bad rhyme.
I’ve (Bbmaj7)act ed out my love in stag es
with (Gm7)ten thou sand peo ple watch ing,
but we’re a lone (F)now and I’m sing ing (Bb)this song for you.
I know your im age of me is what I (A)hope to be.
I’ve treat ed you un kind ly, but dar lin’, can’t you see?
There’s (Bbmaj7)no one more im por tant to me.
(Gm7)Dar lin’, can’t you please see through me?
’Cause we’re a lone (F)now and I’m sing ing (Bb)this song for you.
You (Dm)taught me pre cious (C#)se crets of the truth, with hold ing noth ing.
You came out in front and I was hid ing.
But (Dm)now I’m so much (C#)bet ter, and if my (F)words don’t come to (B)geth er,
(Bb)lis ten to the mel o dy,
’cause my (G7sus)love is (G7)in there (Bb)hid ing.
I (Dm)love you in a place where there’s no (A7)space or time.
I (F)love you for my life;
you are a (B)friend of mine.
And (Bbmaj7)when my life is o ver,
re (Gm7)mem ber when we were to geth (Am7)er.
We were a lone (F)and I was sing ing (Bb)this song for you.
You We were a lone (F)and I was sing ing (Bb)this song for you.
We were a lone (F)and I was sing ing (Bb)this song
for (F)you.
This page shows “A Song For You” by Carpenters 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 Bb at 60 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement gives you a real workout in chord variety — twelve shapes across one ballad, so your left hand needs to know where it's going before it gets there. At 60 BPM you have time, but that slow tempo also exposes every hesitation, especially moving into the C#aug and A7 voicings, which sit outside the home key of B♭ and will likely trip you up the first few times. Practice those transitions in isolation: loop two bars around each tricky change, hands separate, until the shape is in your fingers, not just your eyes. Your left hand plays block chords throughout, so focus on landing them cleanly and letting the sustain pedal do the legato work — lift and re-press on each chord change to avoid muddiness. Once the changes feel automatic, shift your attention to shaping the melody dynamically. This is the kind of song that builds real confidence with chromatic chord movement, and that skill transfers everywhere.