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Just a (B)small town girl,
liv in’ in a (A)lone ly world.
She took the (B)mid night train go in’ (G#m)an y where.
Just a (B)cit y boy,
born and raised in (A)south De troit.
He took the (B)mid night train go in’ (G#m)an y where.
A sing er in a (B)smok y room.
The smell of wine and (A)cheap per fume.
For a smile they can (B)share the night.
It goes (G#m)on and on and on and on.
(B)Stran (A)gers
(B)wait (E)ing
up and down the (B)boul e (E)vard, their (B)shad (A)ows
(B)search (E)ing in the night.
(B)Street (A)light
(B)peo (E)ple,
liv ing just to (B)find e (E)mo tion, (B)hid (A)ing
(B)search (E)ing in the night.
(B)some (E)where in the night.
Work in’ hard to (B)get my fill.
Ev ’ry bod y (A)wants a thrill.
Pay in’ an y thing to (B)roll the dice just (G#m)one more time.
Some will win,
some will lose,
some were born to (A)sing the blues.
Oh, the mov ie nev er ends; it goes (G#m)on and on and on and on.
(E)Don’t stop be (B)liev in’.
Hold on to the (A)feel in’,
(E)street light
(B)peo ple.
(E)Don’t stop be (B)liev ing.
Hold on,
(E)street light
(B)peo ple.
This page shows “Don't Stop Believin'” by Journey 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 E at 120 BPM, a slightly more challenging arrangement — practice each phrase slowly first.
This arrangement will seriously level up your hand independence — your left hand carries a walking bass line throughout, while your right hand voices five chords in the key of E, including a C#m7 that demands a clean stretch. Start hands-separate: drill that walking bass slowly until your fingers move on autopilot, then bump up toward 120 BPM before layering the right hand on top. The trickiest transition is moving from G#m to A while keeping the bass walking steadily underneath — loop just that change until it feels boring, because that's when you own it. Watch your pedal use carefully; too much sustain will blur the bass line into mud, so keep it short and rhythmic. Once both hands lock in, you'll feel that energetic drive click into place. This is the piece that'll make walking bass patterns second nature for everything you play next.