Uh huh.
If you (C)ev er find your turn in’, and you in the mid dle of the sea,
I’ll sail the world
to find you.
And If you (C)ev er find your self lost in the dark, and you can’t see,
ev I’ll be the light
to guide you.
We find out what we’re made of
when we are called to help our friends in need.
You can (C)count on me like (Em)“one, two, three.” I’ll be there,
and (F)I know when I need it.
I can (C)count on you like (Em)“four, three two,” and you’ll be there,
’cause that’s what friends are s’posed to do, oh, yeah.
Ooh,
ooh,
(F)yeah,
(G)yeah.
If you’re (C)toss in’ and you’re turn in’, and you just the can’t dle fall a sleep,
I’ll sing a song
be side you.
And if you (C)ev er for your get how much you real ly mean to me,
ev I’ll be I will
re mind you.
We find out what we’re made of
when we are called to help our friends in need.
You can (C)count on me like (Em)“one, two, three.” I’ll be there,
and (F)I know when I need it.
I can (C)count on you like (Em)“four, three two,” and you’ll be there,
’cause that’s what friends are s’posed to do, oh, yeah.
Ooh,
ooh,
(F)yeah,
(G)yeah.
If you’re (G)yeah.
You’ll (Dm)al ways have my (Em)shoul der when you (Am)cry.
I’ll (Dm)nev er let go, (Em)nev er say good (Am)cry.
I’ll (F)bye.
(G)You know you can
you can count on me, ’cause I can count on (C)you.
This page shows “Count On Me” by Bruno Mars 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 C at 176 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement sits in the key of C with friendly, open chord shapes — C, Em, Am, F, G, and Dm — so your left hand gets a solid workout moving through the most common diatonic progressions you'll ever use. At 176 BPM it moves briskly, but the feel is light and bouncy, almost like a relaxed shuffle, so resist the urge to pound through it — keep your touch gentle and your wrist loose. The trickiest spots tend to be the transitions between F and G in the chorus, where your left hand has to reposition quickly; isolate that two-bar passage and loop it at half tempo until the jump feels automatic. Practice hands separately first, especially through the verse melody, because the right hand has some subtle syncopation that needs to sit just behind the beat to sound natural rather than stiff. Once you're comfortable, add light sustain pedal on chord changes only — lifting cleanly each time so nothing blurs. This is the song that will lock in your I–IV–V–vi movement in C, and once that's in your hands, you'll recognize it everywhere.