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(F)I just re mem bered that (Bbm6)time at the mar ket; (Dm7)snuck up be hind me and (Cm7)jumped on my (F7)shop ping (Bb)cart and (C)rode (Dm)down
Aisle (C)Five.
(F)You looked be hind you to (Bbm6)smile back at me,
crashed in to a (Cm7)rack full of (F7)mag a (Bb)zines.
They (C)asked (Dm)us
if (C)we (Dm)could (F)leave.
(Bb)Can’t re (C7)mem ber what went (Bb)wrong last Sep (C7)tem ber, though I’m (Bb)sure you’d re (C7)mind me if you (B)had to.
Our love was
com fort ’ble and
so bro ken (Csus4)in.
I (F)sleep with this new girl I’m (Bbm6)still get ting used to.
My (Dm7)friends all ap prove, say, “She’s (Cm7)gon na be (F7)good for (Bb)you.” They (C)throw (Dm)me
high (C)fives.
(F)She says the Bi ble is (Bbm6)all that she reads
and pre fers that I (Cm7)not use pro (F7)fan i (Bb)ty.
Your (C)mouth (Dm)was
so (C)dirt (Dm)y.
(Bb)Life of the (C7)par ty, and she (Bb)swears that she’s (C7)art sy, but (Bb)you could dis (C7)tin guish Miles from (B)Col trane.
Our love was
com fort ’ble and
so bro ken (Csus4)in.
She’s per fect,
so flaw less,
or (Cm7)so they (Dm7)say.
(Bb)Hey,
(Dm7)say,
(Bb)hey.
(F)She thinks I can’t see the (Bbm6)smile that she’s fak in’ and (Dm7)pos es for pic tures that aren’t be ing (F7)tak en.
I (C)loved (Dm)you;
gray (C)sweat (Dm)pants,
no (C)make (Dm)up,
(C)so per (C7)fect.
I (Cm7)want you (Dm7)back.
This page shows “Comfortable” by John Mayer 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 Bb at 120 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a fantastic workout for navigating jazzy chord colors in a pop context — you'll cycle through eighteen distinct chords, including major sevenths, minor sevenths, and a Gdim7 that loves to sneak up on you. Your left hand needs to stay relaxed through the mixed bass pattern; don't lock your wrist when jumping between the Bbmaj7 and Abmaj7 shapes, since that stretch trips up almost everyone the first few times. Start hands-separate at around 80 BPM and really drill the Cm7–F7–Bbmaj7 progression until the voice-leading feels automatic in your fingers. Watch the Bbm6 — it's a brief but expressive moment, and rushing past it kills the playful mood. Once transitions feel smooth, bring the tempo up gradually to 120. This is the piece that'll build your confidence with seventh-chord vocabulary, so lean into those rich sounds and let them ring.