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I feel in (C#5)sane ev ’ry sin gle time from I’m asked to com pro mise.
’Cause I’m a fraid and stuck in my ways and that’s the way it stays.
So how long did I ex pect love to out weigh ig no rance?
By that look on your face I may have forced the scale to tip.
I’m not (B)in sane, I’m (A)not in sane.
I’m not (B)in sane, I’m (A)not,
(E)not in (G#)sane.
(Moth er Come back to me, it’s al most eas y.
said it all.) Come back a gain, it’s al most eas y.
(C#5)Shame puls es through my heart from the things I’ve done to you.
It’s hard to face, but the fact re mains that this is noth ing new.
I left you bound and tied with su i cid al mem o ries.
Self ish be neath the skin, but deep in side I’m not in sane.
I’m not (B)in sane, I’m (A)not in sane.
I’m not (B)in sane, I’m (A)not,
(E)not in (G#)sane.
(Moth er Come back to me, it’s al most eas y.
said it all.) Come back a gain, it’s al most eas y.
y.
You’ll learn your les son Come back to me, it’s al most eas y.
but first you’ll fall.) Come back a gain, it’s al most eas y.
(C#m)Now that I’ve lost you, it (E)kills me to say, I (B)try to hold on as you (G#)slow ly slip a (A)way.
I’m (E)los ing the fight.
I (B)treat ed you so wrong, now (G#)let me make it (A)right.
it al right.)
I’m not in sane, I’m not in sane.
I’m not in sane, I’m not,
(E)not in (G#)sane.
This page shows “Almost Easy” by Avenged Sevenfold 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 E at 176 BPM, a slightly more challenging arrangement — practice each phrase slowly first.
This arrangement will push your coordination hard — at 176 BPM in the key of E, the octave bass pattern in your left hand needs to feel automatic before you layer anything on top. Start hands-separate and at around 60% tempo; get those left-hand octave jumps locked in so your hand finds each root (E, B, C♯, A and the rest) without looking down. Your right hand deals with thirteen chord shapes including power chords and a sneaky C diminished, so watch the transitions between C♯ minor and C diminished especially — they sit close together but the voicing shift trips people up every time. Syncopation is constant in this style, so count aloud or tap your foot religiously; rushing even slightly at this tempo snowballs fast. Once each hand is confident, combine them in four-bar loops, prioritizing the chorus first since it repeats most. Keep pedal use minimal — just light touches on sustained passages so the rock energy stays tight, not muddy. This is the piece that will solidify your power-chord vocabulary and teach your left hand to own an octave bass line at speed.