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For She was more like a beau ty queen (G#m)from a mov ie scene.
I said (G#m)don’t mind, but what do you mean (G#m)I am the one
who will dance on the floor in the round?
She said (G#m)I am the one
just who will dance mem ber on the floor al ways in the round.
twice.
She told (G#m)me her name was Bil lie Jean (G#m)as she caused a scene.
Then ev (G#m)’ry head turned with eyes that dreamed (G#m)of be ing the one
who will dance on the floor in the round.
(D)Peo ple al ways told me, be (F#m)care ful of what you do.
And don’t (D)go a round break in’ young girls’ hearts.
And you (D)Moth er al ways told me, be a (F#m)care ful of who you love.
And be (D)care ful of what you do ’cause the (C#7)lie be comes the truth.
Hey.
Bil (G#m)lie Jean is (F#m7)not my (G#m)lov er.
She’s just (G#m)a girl who (F#m7)claims that (G#m)I am the one,
but the kid is not my son.
She says (G#m)I am the one,
but the kid is not my son.
For for ty days and for for ty nights, (G#m)law was on her side.
But who (G#m)can stand when she’s in de mand, (G#m)her schemes and plans,
’cause we danced on the floor in the round.
So take (G#m)my strong ad vice:
just who will dance mem ber on the floor al ways in the round.
twice.
She told (G#m)my ba by we’d danced till three; (G#m)and she looked at me, then showed (G#m)a pho to.
A ba by cries.
(G#m)His eyes were like mine.
Can we dance on the floor in the round?
(D)Peo ple al ways told me, be (F#m)care ful of what you do.
And don’t (D)go a round break in’ young girls’ hearts.
But you (D)came and stood right by me, just a (F#m)smell of sweet who per fume.
And This (D)hap pened much what too soon.
She the (C#7)called me to her room.
Hey.
Bil (G#m)lie Jean is (F#m7)not my (G#m)lov er.
She’s just (G#m)a girl who (F#m7)claims that (G#m)I am the one,
but the kid is not my son.
She says (G#m)I am the one,
but the kid is not my son.
This page shows “Billie Jean” by Michael Jackson 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 120 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great workout for left-hand independence — your bass line uses an Alberti pattern that needs to stay locked in at 120 BPM while your right hand handles the melody. Start hands-separate and get that left hand on autopilot before combining. The chord set leans heavily on minor sevenths like F#m7 and Bm7, plus a C#7 that adds real tension, so spend time shaping those voicings until they feel natural under your fingers. Watch the transition from G#m back to F#m — it's easy to fumble that half-step shift if you're not anticipating it. The move to the C natural chord will also catch you off guard since it sits outside the key; flag it mentally so you don't hesitate. Loop the trickiest four-bar phrase at 80 BPM until it's clean, then gradually bring it up to tempo. This is the piece that'll make your seventh-chord transitions feel effortless going forward.