(D6)Close your eyes,
say a have no fear.
The mon ster’s gone.
He’s on the run, and get your dad dy’s here.
bet ter.
(Em7)Beau ti ful, beau ti ful, beau ti ful, beau ti ful (D6)boy.
(Em7)Beau ti ful, beau ti ful, beau ti ful, beau ti ful (D6)boy.
Be fore you (D6)go to sleep,
say a lit tle prayer.
The Ev ’ry day,
in ev ’ry way, it’s get your bet ter and bet ter.
(Em7)Beau ti ful, beau ti ful, beau ti ful, beau ti ful (D6)boy.
(Em7)Beau ti ful, beau ti ful, beau ti ful, beau ti ful (D6)boy.
Be fore you (Bm7)boy.
Out on the o cean,
sail ing a way,
I can hard ly wait
to see you come of age.
But I guess we’ll both just have to be pa tient.
’Cause it’s a (G)long
way to go,
a hard row to hoe.
Yes, it’s a (G)long way to go,
but in the mean time,
be fore you (D6)cross the street,
take my hand.
Life is what hap pens to you while you’re bus y mak ing oth er plans.
(Em7)Beau ti ful, beau ti ful, beau ti ful, beau ti ful (D6)boy.
(Em7)Dar ling, dar ling, dar ling, dar ling (D6)Sean.
This page shows “Beautiful Boy” by John Lennon 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 D at 100 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement gives your left hand a real workout with that walking bass line — keep it smooth and even at 100 BPM, almost like a gentle stroll, since rushing the bass will undercut the peaceful feel instantly. Your right hand needs to get comfortable shifting between some close chord shapes: Bm to Bm7 is just one finger lifting, but moving from D6 into A7 or jumping to that B major chord demands quick, confident repositioning, so isolate those transitions slowly before you string whole sections together. I'd suggest learning hands separately first, locking in the walking bass until it feels automatic, then layering the chords on top at around 70 BPM. The trickiest stumbling point is usually where the harmony shifts between Bm7 and Em7 while the bass keeps walking — loop that two-bar passage until your hands stop competing with each other. Pedal lightly here; too much sustain will blur the bass movement. This is a fantastic song for building independence between hands, and once that walking bass clicks, you'll carry that skill into everything you play next.