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(Em)How can you see in to my eyes, like o pen doors?
(Em)Lead ing you down in to my core where I’ve be come so numb.
(E5)Now With out a soul, what I’m with out, my spir it’s sleep ing some where (E5)cold, un til you find it there and lead
it back
to (CN.C.)home.
Wake me up.
Wake me up in side.
wake up.
Wake me up in side.
Save me.
Call my name and (Em)save me from the dark.
me Bid my blood to run, wake up.
be fore I come un done.
Save me.
Save me from the (Em)noth ing I’ve be (E5)come.
(E5)Now With that I know what I’m with out, you can’t just leave me.
some Breathe (E5)cold, in to you me and make me real.
Bring me
to (CN.C.)life.
Wake me up.
Wake me up in side.
wake up.
Wake me up in side.
Save me.
Call my name and (Em)save me from the Wake me Bid my blood to run, wake up.
be fore I come un done.
Save me.
Save me from the (Em)noth ing I’ve be (E5)come.
(C)come.
Bring (D)me to (Em)life.
I’ve been liv ing a lie.
There’s noth ing in side.
Bring (D)me to (Em)life.
(Am)Fro
zen in side with out your touch, with out your love, dar ling.
On
ly you are the life a mong the dead.
(E5)All this time I can’t be lieve I could n’t see, kept in the dark, but you were there in front of me.
I’ve been sleep ing a thou sand years it seems, got to o pen my eyes to ev ’ry thing.
With out a thought, with out a voice, with out a song.
Bring (D5)me to
Bring (D)me to (E5)life.
This page shows “Bring Me To Life” by Evanescence 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 E at 104 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great workout for your left-hand chord vocabulary — you'll cycle through nine distinct shapes including Am, Am7, B7, and a couple of power chords (Dpow and Epow), so spend your first pass just drilling those changes hands-separate at around 70 BPM until every voicing feels automatic. The trickiest transitions tend to be moving between Am7 and B7, where your fingers need to shift quickly without hesitation, and jumping to those power chords during the dramatic choruses — isolate those two-bar spots and loop them until they're clean. At 104 BPM the rhythm has a driving, upbeat pulse, so keep your counting steady and resist the urge to rush through the intense sections; a metronome is your best friend here. Once hands are comfortable alone, combine them slowly and let the tempo creep up in small increments. This is the piece that will really solidify your minor-key chord transitions and teach you to stay rhythmically grounded when the energy spikes — once you own that skill, so many dramatic pop songs will feel easier.