Six A.
M.
day af ter Christ mas, I throw some clothes on in the dark.
The smell of cold,
car seat is freez ing, the world is sleep ing, I am
numb.
They Up the stairs
to her a part ment, I she is balled up on (G6/9)the couch.
Her mom and dad
went down to Char lotte, and they’re not home to find (G6/9)us out.
And we drive.
Now that I have found some one, Now I’m (D)feel ing more a lone
than I (Bm7)ev er have be fore.
She’s (A)a brick and I’m (A)drown ing slow ly off (A)the coast and I’m (A)head ed no (D6/9)where.
She’s (A)a brick and I’m (A)drown ing slow ly.
numb.
They call her name
at sev en thir ty.
I pace a round the park (G6/9)ing lot,
and I walk down
to buy her flow ers
and sell some gifts that I (G6/9)us got.
Can’t you see
it’s not me you’re dy ing for?
Now she’s (D)feel ing more a lone
than she (Bm7)ev er has be fore.
She’s (A)a brick and I’m (A)drown ing slow ly off (A)the coast and I’m (A)head ed no (D6/9)where.
She’s (A)a brick and I’m (A)drown ing slow ly.
As (E7)weeks went by they showed that she was (Dsus)not fine.
They (E7)told me, “Son, it’s time to tell the (Dsus)truth,” and
she (E7)broke down
and I broke down
’cause (Dsus)I was (E7sus)tired
of ly ing.
She’s (A)a brick and I’m (A)drown ing slow ly
off (A)the coast and I’m (A)head ed no (D6/9)where.
She’s (A)a brick and I’m (Bm7)drown ing (A)slow ly.
This page shows “Brick” by Ben Folds Five 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 comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a great way to work on smooth chord transitions in D major while your left hand holds a steady pedal bass — meaning you'll anchor on that D note underneath while your right hand moves through the chord changes above it. At 100 BPM the tempo is gentle, but watch the shifts between D, Dsus4, and D6 closely; those voicings differ by just one note, so accuracy matters more than speed. The Bm7 to E7 move is your trickiest transition — isolate it, loop it slowly, and make sure your fingers know the shape before you try to play through. I'd suggest hands-separate practice first: get that left-hand pedal bass feeling automatic, then layer in the right-hand chords. Once both hands are comfortable, focus on dynamics — this is a sad ballad, so let the quiet passages breathe and resist the urge to play everything at one volume. This song will genuinely strengthen your sus-chord and sixth-chord vocabulary, shapes that show up constantly in singer-songwriter and pop-rock repertoire.