I was all right
was for a while;
I could smile for a while,
I but I saw you last night; you held my (C)hand so tight, as you (F)stopped to say, “Hel (Fm)lo.”
(G9)Oh, you (C)wished me well; you (G7)could n’t tell
that I’d been (C)cry ing (Em)o ver you, (C)cry ing (Em)o ver you.
When (F)you
said, “So (G7)long;”
left me (F)stand ing
all a (G7)lone,
a lone and (C)cry ing,
(C)cry ing,
(F)cry ing,
(Fm)cry ing.
It’s hard to (C)un
der stand,
but the (G7)touch
of your hand
can start me (C)cry ing.
I thought that right
was o ver you
but it’s true, so a while,
I love you e you ven more you than I (C)did be fore, but dar (F)ling, what can I (Fm)do?
(G9)For you (C)don’t love me I’ll (G7)al ways be
I’d been (C)cry ing (Em)o ver you, (C)cry ing (Em)o ver you.
Yes, (F)now
you’re “So (G7)gone
and from (F)this ing
mo ment (G7)on
a I’ll be (C)cry ing,
(C)cry ing,
(F)cry ing,
(Fm)cry ing.
It’s Yeah, to (C)cry
der ing,
but the (G7)cry
of your ing
can o ver (C)cry ing.
I thought that (C)you.
This page shows “Crying” by Roy Orbison 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 110 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a great way to get comfortable with chromatic voice leading — small, one-note shifts between chords that create big emotional swells. Your biggest focus should be the C to C augmented move: all you're doing is raising the G up a half step to G♯, but it has to sound smooth, not jarring, so keep your hand relaxed and let that one finger glide. The same idea applies when F major melts into F minor — just lower the A to A♭. Practice those two transitions slowly, hands together, until they feel automatic. Your left hand plays an octave bass pattern throughout, which is straightforward at 110 BPM, but watch that you don't rush it during the G7 and G9 sections where the melody gets busier. I'd suggest looping the verse progression at around 80 BPM first, then gradually bring it up to tempo once the chord shapes sit in your fingers without looking. A little sustain pedal on each chord change will help capture the song's aching, sustained quality — just be sure to release cleanly so nothing muddies together. This is the piece that'll make chromatic chord shifts feel like second nature.