(D5)I was a lit tle girl, a lone in my lit tle world, who (Bm7)dreamed of a lit tle home for (G)me.
I (D5)played pre tend be tween the trees and fed my house guests lent bark and leaves and laughed a in my pret ty bed of (G)green.
I had a (D5)dream
that I could fly
from the (G)high est swing.
I had a (D5)dream.
(D5)Long walks a in the dark through woods grown be hind the park, I (Bm7)asked God a who I’m s’posed to (G)be.
The (D5)stars pre smiled be down on me.
God an swered in si lent rev er ie.
I said a prayer and pret ty fell a (G)sleep.
I had a (D5)dream
that I could fly
from the (G)high est tree.
I had a (D5)dream.
(D5)Ooh,
(A)ooh.
(Bm7)Ooh,
ooh.
(D5)Ooh,
(A)ooh.
(Bm7)Ooh,
ooh.
(D5)Now I’m old and feel ing gray.
I don’t know what’s left to say a (Bm7)bout this life I’m
will ing to (G)leave.
I (D5)lived it full and I lived it well.
There’s man y tales I’ve lived to tell.
I’m read y now,
I’m read y now,
I’m read y now
to (Bm7)fly
from the (G)high est wing.
I had a (D5)dream.
This page shows “Dream” by Priscilla Ahn 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 D at 90 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a great way to lock in your left-hand oompah pattern — that steady bass-note-then-chord rocking motion that gives ballads their gentle pulse. At 90 BPM in the key of D, you have plenty of breathing room, so focus on keeping that left hand relaxed and even before adding the melody. Your five chords sit nicely under the fingers, but watch the shift into Bm7 and F#m — those minor shapes require a quick hand position change, so loop those transitions slowly until they feel automatic. The Dped sections anchor your left hand on a repeated D bass while chords move above it; resist the urge to glance down, and trust the feel of that fixed bass note. Practice hands separately for two or three passes, then combine at half tempo. Once it clicks, this song will make pedal-point bass feel like second nature for every ballad you play next.