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It (G)ain’t no use to (D)sit and won der why, babe,
it don’t mat ter, a ny how.
An’ it (G)ain’t no use to (D)sit and won der why, babe,
if you don’t know by now.
When your roost er crows at the break of dawn,
look out your win dow and I’ll be gone.
(G)You’re the (D)rea son I’m (Em)trav ’lin’ on.
Don’t think twice, it’s all (G)right.
It (G)ain’t no use to (D)sit and won der why, babe,
it don’t mat ter, a ny how.
An’ it (G)ain’t no use to (D)sit and won der why, babe,
if you don’t know by now.
When your roost er crows at the break of dawn,
look out your win dow and I’ll be gone.
(G)You’re the (D)rea son I’m (Em)trav ’lin’ on.
Don’t think twice, it’s all (G)right.
It (G)right.
So (G)ain’t no use to (D)sit and won der why, babe,
it don’t mat ter, a ny how.
An’ it (G)ain’t no use to (D)sit and won der why, babe,
if you don’t know by now.
When your roost er crows at the break of dawn,
look out your win dow and I’ll be gone.
(G)You’re the (D)rea son I’m (Em)trav ’lin’ on.
Don’t think twice, it’s all (G)right.
It (G)right.
So right.
This page shows “Don't Think Twice, It's Alright” by Bob Dylan 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 G at 220 BPM, a slightly more challenging arrangement — practice each phrase slowly first.
This arrangement is a great way to build confidence moving through a wider set of chords in the key of G — you've got seven to manage, including those nice color shifts to G7, D7, and the A chord, which briefly steps outside the key and will ask your fingers to reach a little differently. Your left hand plays an octave bass pattern throughout, so lock that in first: practice just the root-octave motion hand-alone until it feels automatic, because that steady foundation is what makes the right hand sound relaxed. At 220 BPM the pulse moves quickly, but the rhythm itself is gentle and flowing, so resist any urge to rush — count in two rather than four and let the phrases breathe. The trickiest transitions will be moving between G7 and C, and catching that A chord cleanly when it appears; loop those two-bar spots slowly before playing through. Once your hands are comfortable separately, combine them at half tempo and gradually bring it up. This is the song that will train you to handle seventh chords as naturally as basic triads — once these shapes are under your fingers, a huge number of folk and pop tunes will feel instantly more approachable.