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(A)Some times you (C#m)walk by the (C#)good ones, and ’cos you’re try ing (D)too hard, too hard to see them.
And (A)some times you (C#m)don’t find the (C#)right lines, all ’cos you’re try ing (D)too hard, too hard to hear them.
But you (Bm)know what it (E)feels like, ’cos (C#)you’re like me;
and you (D)won’t
give (Dm6)up
till an (A)all
(C#m)time love;
’cos no thing (A)else
(C#m)is good e nough.
I want an (A)all
(C#m)time love
(D)to find
me,
oh ho.
(A)Some days you’re (C#m)too set in (C#)your ways and you for get to (D)shut up, shut up and lis ten.
And (A)some days you (C#m)just have to (C#)mis place all your mis takes ing (D)some where that you won’t miss them.
But So (Bm)stop ly’n’ that (E)you’re fine, ’cos (C#)you’re like me;
and you (D)can’t
give (Dm6)up
till an (A)all
(C#m)time love;
’cos no thing (A)else
(C#m)is good e nough.
I want an (A)all
(C#m)time love
(D)to find
me,
oh ho.
oh ho.
I don’t be lieve that it’s a fail ing,
I don’t be lieve that it’s a fault;
’cos if ev ’ry thing were plain sail ing,
oh, tell me, (D)what would there be left to re solve
but an (A)all
(C#m)time love?
’Cos no thing (A)else
(C#m)is good e nough.
I want an (A)all
(C#m)time love
(D)to find
me.
I want an (A)all
(C#m)time love,
’cos no thing (A)else
(C#m)is good e nough.
I want an (A)all
(C#m)time love
(D)to find
me.
This page shows “All Time Love” by Will Young 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 A at 78 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a lovely workout for your left hand — that oompah bass pattern means you're bouncing between a low root note and a mid-range chord on every beat, and at 78 BPM you have just enough time to land each jump cleanly if you stay relaxed through the wrist. Start hands-separate: get your left hand comfortable with the D-to-Dm shift first, because that major-to-minor colour change catches people off guard every single time, and the same goes for moving into Dm6 and D6, where one finger adjustment changes the whole mood. Your right hand melody is fairly stepwise and singable, so the real challenge is coordinating it with those bass jumps without rushing. I'd suggest looping the verse at around 60 BPM until both hands feel automatic, then nudge the tempo up gradually. Watch the C# major chord — it's easy to default to C#m out of habit since you're in the key of A. Pedal lightly on each chord change to keep the ballad warmth without muddying those minor-flavoured transitions. This is the piece that'll build your confidence moving between closely related major and minor shapes, a skill you'll use in almost every pop ballad from here on out.