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To take my love a way.
When I come back a round, will I know what to say?
Said you won’t for get my name.
Not to (G)day,
not to mor row.
Kind a (C)strange,
feel ing sor row.
I got (A)change
you could bor row.
When I come back a round, will I know what to say?
Not to (G)day,
may be to mor row.
(C)O pen up the door.
Can you o pen up the door?
I (A)know you said be fore you can’t cope with an y more.
You (E)told me it was war, said you’d show me what’s in store.
I (G)hope it’s not for sure.
Can you o pen up the door?
Did (C)you
(A)take
my (E)love
a (G)way
from (C)me,
hee,
me,
me?
Saw your seat at the coun ter when I looked a way.
Saw you turn a round, but it was n’t your face.
Said, “I need to be a lone now.
I’m break.”
(G)I re turned, you were gone a way?
I (C)don’t,
I don’t know
why I (A)called.
I don’t know you at (E)all.
I don’t
know (G)you,
not at all.
I (C)don’t,
I don’t know
why I (A)called.
I don’t know you at (E)all.
I don’t
know (G)you.
Did
And that’s when you found me.
I was wait ing
in the gar den,
con tem plat ing.
Beg your par (E)don,
but there’s a part of me that rec og niz es you.
Do you feel it, too?
When you (C)told me it was se ri ous,
were you (A)se ri ous?
Mm.
They told me (E)they were on ly cu ri ous.
Now it’s se ri ous,
mm.
(C)O pen up the door.
Can you o pen up the door?
I (A)know you said be fore you can’t cope with an y more.
You (E)told me it was war, said you’d show me what’s in store.
I (G)hope it’s not for sure.
Can you o pen up the door?
(C)Wring ing my hands in my lap,
and you (A)tell me it’s all been a trap,
and you (E)don’t know if you’ll make it back.
I said, (G)“No,
don’t say that.”
Hm,
hm, hm.
This page shows “Chihiro” by Billie Eilish 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 G at 112 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement sits in the key of G and moves at a moderate 112 BPM, so your right hand will spend a lot of time navigating gentle melodic phrases that lean on syncopation — Billie's vocal rhythms love to land just off the beat, so tap the rhythm out on a table before you even touch the keys. Your left hand will cycle through familiar chord shapes, but pay close attention to transitions where the bass note shifts by a larger interval; those are the spots where timing tends to wobble. I'd suggest learning hands separately first, especially drilling the left-hand pattern at about 80 BPM until the changes feel automatic, then layering the right hand on top. The trickiest stumbling point is usually keeping the left hand steady while your right hand follows those syncopated phrases — if you lose the groove, slow down rather than push through. Use the sustain pedal lightly, changing it with each new chord to keep things clean. This is a fantastic piece for training your hands to operate independently at a relaxed tempo, which is a skill that pays off in everything you play next.