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She’d trade (Ab)Col o ra do (Bb)if he’d take her with him.
Clos es the door be fore the (Bb)win ter lets the cold in,
and (Ab)won ders if her love is strong e nough to make him stay.
She’s (Fm)an swered by the tail lights shin ing (Bb)through the win dow pane.
He said, “I wan na (Ab)see you a gain
but I’m (Ab)stuck in cold er (Eb)weath er.
May be to mor row will be (Eb)bet ter.
Can I (Bb)call you then?”
She said, “You’re a (Ab)ram blin’ man
and you ain’t (Ab)nev er gon na (Eb)change.
You got a (Ab)gyp sy soul (Eb)to blame and you were born for (Bb)leav in’.”
At a (Ab)truck stop din er (Bb)just out side of Lin coln,
the (Ab)night is black as the (Bb)cof fee he was drink in’.
And (Ab)in the wait ress’ eyes he sees the (Cm)same ol’ (Bb)light is shin ing.
He (Fm)thinks of Col (Eb)o ra do and the (Bb)girl he left be hind him.
He said, “I wan na (Bb)leav in’,
born for (Absus2)leav in’.”
Well, it’s a (Fm)wind ing (Eb)road
when you’re (B)in the lost and (Cm)found.
(Bb)You’re a (Ab)lov er, I’m a (Eb)run ner, and we go ’round and ’round.
And I (Ab)love you but I (Eb)leave you.
I don’t (Ab)want you but I (Eb)need you.
You (Ab)know it’s you that calls me back here, ba
by.
Oh, I wan na (Ab)see you a gain
but I’m (Ab)stuck in cold er (Eb)weath er.
May be to mor row will be (Eb)bet ter.
Can I (Bb)call you then?
’Cause I’m a (Eb)ram blin’ man.
(I ain’t nev er gon I ain’t nev er gon na change.
Got a (Eb)gyp sy soul to blame And I was born for (Bb)leav in’,
born for leav in’.
When I close my eyes I see you, no mat ter where I am.
I can smell your per fume through these whis p’ring pines.
I’m with your (Ab)ghost a gain.
It’s a (Ab)shame a bout the (Eb)weath er, but I know soon we’ll be (Eb)to geth er, and I can’t wait till then.
I can’t wait till then.
This page shows “Colder Weather” by Zac Brown Band 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 Ab at 80 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great way to build confidence playing in A♭ major, where your hands live mostly on flats and you'll need to stay relaxed to keep the tone warm. Your left hand follows an octave bass pattern throughout — root note, then the octave above — so lock that in hands-separate first until it feels automatic, because your right hand needs your full attention on the chord changes. Watch the move into B diminished: it's the one shape that'll catch you off guard since it breaks the familiar minor and major voicings you're cycling through, so isolate the bars around it and loop them at half tempo until the fingering feels natural. The Absus2 is subtle — you're just lifting one finger off the A♭ chord — but rushing past it kills the melancholic feel, so really let it breathe. At 80 BPM you have space, so use the sustain pedal gently, lifting cleanly on each chord change to avoid muddiness. Once this clicks, you'll have a solid foundation for playing ballads in flat keys, which opens up a huge portion of the country and pop repertoire.