(Cm)Don’t (F)leave me this (Bb)way,
’cause I can’t sur (Eb)vive,
can’t (Eb)stay a (Cm)live with (Fm7)out your love.
Oh ba by, (Cm)don’t (F)leave me this (Bb)way,
no.
I cha can’t un ex der (Eb)ist,
I’ll (Cm)sure your ly miss your (Fm7)ten der kiss.
Don’t leave me this (Cm)way,
(Fm7)no.
(Cm)Don’t (F)leave me this (Bb)way
babe.
a bro ken (Eb)man an
with (Eb)emp ty (Cm)hands, oh (Fm7)ba by please.
Don’t leave me this (C)way.
Ah.
Ba by,
my (Bb)heart is full with (F)love and de (C)sire for you.
Now (Bb)come on down and (F)do what cha (C)got ta do.
You (Bb)start ed this fire down (C)in my soul.
Now (Bb)can’t cha see it’s (F)burn in’ (C)out ta con trol.
(Bb)Come on sat is (F)fy the (C)need in me
’cause (Bb)on ly your good (F)lov in’ can (Dm7)set me free.
(Cm)Don’t (F)leave me this (Bb)way
’cause it would be (Eb)wrong
to (Eb)string me (Cm)’long, a (Fm7)love so true.
Oh ba by, (Cm)Don’t (F)leave me this (Bb)way.
no.
Don’t cha can’t un ex der (Eb)stand,
I’m (Cm)at your com mand, so (Fm7)ba by, please.
Don’t leave me this (Cm)way.
(Fm7)no.
(Cm)Don’t (F)leave me this (Bb)way,
babe.
I can’t sur (Eb)vive, an
can’t (Eb)stay a (Cm)live with (Fm7)out your love.
Don’t leave me this (C)way.
Ah.
Ba by,
my (Bb)heart is full with (F)love and de (C)sire for you.
Now (Bb)come on down and (F)do what cha (C)got ta do.
You (Bb)start ed this fire down (C)in my soul.
Now (Bb)can’t cha see it’s (F)burn in’ (C)out ta con trol.
(Bb)Come on sat is (F)fy the (C)need in me
’cause (Bb)on ly your good (F)lov in’ can (Dm7)set me free.
(C)set me free.
(C)Please.
(Bb)Please, (F)please don’t (C)go.
(Bb)Please, (F)please don’t go.
(Bb)Please, (F)please don’t (C)go.
(Bb)Please, (F)please don’t go.
This page shows “Don't Leave Me This Way” by Thelma Houston 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 F at 112 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great workout for your left hand's independence — that oompah bass pattern needs to stay locked in at 112 BPM while your right hand handles the melody, so start hands-separate and get that left-hand bounce completely automatic before combining. Pay special attention to the shifts between major and minor versions of the same root: you'll move from F to Fm7 and from C to Cm, which means small but critical finger adjustments mid-phrase. The Eb and Cm chords pull you briefly into F minor territory, giving the song its emotional ache, so lean into those moments dynamically rather than rushing through them. I'd suggest looping the sections where those borrowed minor chords appear until the transitions feel smooth under your fingers at a slow tempo, then gradually bring it up to speed. This is the piece that'll really solidify your comfort moving between major and minor chord colors — once that clicks, a huge number of pop and soul songs will feel easier.