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Now that you’re gone
all that’s left is a band of gold.
All that’s left of the dreams I hold is a band of gold and the (G)mem o ries of what love could be, if (G)you were still here with me.
You (G)took me from the shel ter of a lov er I have (D)nev er known or loved an y oth er.
(C)We kissed af ter tak ing vows but (G)that night on hon ey moon
(G)we stayed in sep ’rate rooms.
(G)I prayed in the dark ness of one lone ly room
filled with sad ness, filled with gloom,
hop ing soon that (G)you’d walk back through that door and (G)love me like you tried be fore.
(G)Since you’ve been gone all that’s left is a band of gold,
all that’s left of the dreams I hold is a band of gold and the (G)dream of what love could be if (G)you were still here with me.
(G)I prayed in the dark ness of one lone ly room
filled with sad ness, filled with gloom,
hop ing soon that (G)you’d walk back through that door and (G)love me like you tried be fore.
(G)Since you’ve been gone all that’s left is a band of gold,
all that’s left of the dreams I hold is a band of gold and the (G)dream of what love could be if (G)you were still here with me.
This page shows “Band Of Gold” by Freda Payne 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 G at 110 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a great way to lock in your left-hand pedal bass technique — your left hand stays anchored, repeating a steady root note while your right hand moves through just four chords: G, C, D, and D7. At 110 BPM the tempo has a relaxed groove, but don't let that fool you into rushing; the soul of this track lives in staying right in the pocket rhythmically. The sneakiest moment is the switch from D to D7 — it's only one note changing, but if you're not anticipating it, your fingers will hesitate and break the flow. Practice that D-to-D7 move in isolation until it feels automatic. I'd suggest starting hands-separate at around 80 BPM, getting comfortable with that repeating bass pulse before layering the right hand on top. Once both hands feel steady, bring it up to tempo gradually. This is the kind of song that quietly builds your ability to keep a consistent rhythmic feel across simple changes — and that skill will carry you through far harder pieces down the road.