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(C#m)Sweet ness, (E)sweet ness, I was on ly (C#m)jok ing when I (A)said I’d like to (C#m)smash ev ’ry tooth (E)in your head.
Oh,
(C#m)sweet ness, (E)sweet ness, I was on ly (C#m)jok ing when I (A)said, by rights, you (C#m)should be bludg eoned (E)in your bed.
And now I (B)know how Joan of (C#m)Arc felt, (E)now I know how Joan of (C#m)Arc felt,
as the (C#m)flames rose to her Rom (E)an (F#)nose and her Walk ing man (C#m)start ed to melt.
Ooh.
Ooh.
(C#m)Ooh, ooh,
ooh.
Ooh,
ooh.
(C#m)Big mouth, la da da da da.
(C#m)Big mouth, la da da (A)da.
(B)Big mouth strikes a gain, and I’ve got (E)no right to take my place in the (C#m)hu man race.
Oh, oh, oh, (C#m)Big mouth, la da da da da.
(C#m)Big mouth, la da da (A)da.
(B)Big mouth strikes a gain, and I’ve got (E)no right to take my place in the (C#m)hu man race.
Oh, oh, oh, (C#m)hu man race.
And now I (B)know how Joan of
(C#m)Big mouth, la da da da da.
(C#m)Big mouth, la da da (A)da.
(B)Big mouth strikes a gain, and I’ve got (E)no right to take my place in the (C#m)hu man race.
(A)Oh, oh, oh, oh, (C#m)Big mouth, la da da da da.
(C#m)Big mouth, la da da (A)da.
(B)Big mouth strikes a gain, and I’ve got (E)no right to take my place in the (C#m)hu man race.
(A)Oh, oh, oh, oh, (C#m)hu man race.
This page shows “Bigmouth Strikes Again” by The Smiths 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 C# at 136 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a fantastic workout for coordinating an Alberti bass pattern in your left hand against driving right-hand chords at a brisk 136 BPM — so start slow, around 80–90 BPM, and build up gradually. Your left hand needs to feel automatic before you layer the right hand on top; drill it alone until the rolling bass motion sits comfortably under C#m, G#m, and F# without you having to think about finger placement. The trickiest transitions are moving between the power chords (Bpow, Cpow) and the fuller shapes like B6 and E — these happen quickly, so isolate those two-bar passages and loop them until the jumps feel smooth. Watch your timing on the B to C#m shifts especially; at tempo it's tempting to rush. Use the sustain pedal lightly to connect chord changes, but lift cleanly so the energetic feel doesn't turn muddy. This is the piece that'll lock in your confidence with Alberti bass at real rock tempos — once your left hand owns that pattern here, you'll carry it into everything.