You and me,
we (Gm)used to be to geth er, (Bb)ev ’ry day to geth er, al ways.
I (Cm)real ly feel
that I’m (Fm)los ing my best friend.
I (Gm)can’t be lieve this could be the end.
It (Cm)looks as though
you’re let ting go,
and (Eb)if it’s real, well, I don’t want to know.
(Fm)Don’t speak, I know just what you’re say ing, (C7)so please stop ex plain ing.
Don’t (C7)tell me ’cause it hurts.
No, no, no.
(Fm)Don’t speak, (Bbm)I know what you’re think ing.
(C7)I don’t need your rea sons.
Don’t (C7)tell me ’cause it hurts.
Our (Cm)mem o ries,
(Gm)they can be in vit ing, but some are (Bb)al to geth er might y fright ’ning.
(Db)It’s all end ing, I got ta (Cb)stop pre tend ing who we (A)are.
(Cm)You and me,
(Fm)I can see us dy ing...
Are we?
(Bbm)Don’t speak, I know just what you’re say ing, (C7)so please stop ex plain ing.
Don’t (C7)tell me ’cause it hurts.
No, no, don’t speak, I know what you’re think ing, and (C7)I don’t need your rea sons.
Don’t (C7)tell me ’cause it hurts.
Don’t (Bbm7)tell me ’cause it hurts.
(Bbm)Don’t speak, I know just what you’re say ing, (C7)so please stop ex plain ing.
Don’t (C7)tell me ’cause it hurts.
No, no, don’t speak, I know what you’re think ing, and (C7)I don’t need your rea sons.
Don’t (C7)tell me ’cause it hurts.
Don’t (Bbm7)tell me ’cause it hurts.
This page shows “Don't Speak” by No Doubt 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 80 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a great way to build comfort with flat-heavy chord shapes — you're working through fourteen chords, many centered around Db, Gb, Ab, and Eb, so your hands will really learn the black-key geography of F minor. At 80 BPM the tempo is forgiving, but watch the shift between Bb and Bbm closely; that half-step change in one finger trips people up every time. Your left hand carries a walking bass line, so practice it alone first until the movement feels automatic, then layer the right hand on top. Loop the sections where the harmony darkens — particularly around Bbm7 and Db — because those transitions demand quick hand repositioning. If a passage feels rushed, slow it down by half and build back up. By the end, you'll have real confidence navigating chromatic chord movement, which is a skill that pays off in almost every ballad you'll learn next.