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(Gm)Ooh,
(F)ooh.
(Dm)When she was just a (Bb)girl,
(F)she ex pec ted the (C)world.
But it (Dm)flew a way from her (Bb)reach.
So she (F)ran a way in her (C)sleep
and dreamed of (Gm)pa ra pa ra pa ra dise, (F)pa ra pa ra pa ra dise, (Gm)pa ra pa ra pa ra dise (F)ev ’ry time she closed her eyes.
(Dm)Ooh,
(F)ooh.
(Bb)When she was just a (F)girl,
she ex pec ted the (C)world.
But it (Bb)flew a way from her (Dm)reach,
and the bul lets catch in her (C)teeth.
(Gm)Life goes on, (Bb)it gets so heav y, The (F)wheel breaks (C)the but ter fly.
(Gm)Ev ’ry tear, (F)a wa ter fall.
In the (Bb)night, the storm y (F)night, she’ll close her (C)eyes.
In the (Bb)night, the storm y (F)night, a way she’d (Csus4)fly.
And dreams of (Gm)pa ra pa ra pa ra dise, (F)pa ra pa ra pa ra dise, (Gm)pa ra pa ra pa ra dise.
(F)Oh,
oh.
She’d dream of (Gm)pa ra pa ra pa ra dise, (F)pa ra pa ra pa ra dise, (Gm)pa ra pa ra pa ra dise.
(F)Oh,
oh.
(Gm)La, la, la, la, la, (C)la, la, la, la, la, (Dm)la, la, la, la, la, la, la.
And so ly ing un der neath those storm y (C)skies.
She said oh,
I know the (C)sun must set to rise.
This could be (Gm)pa ra pa ra pa ra dise, (F)pa ra pa ra pa ra dise, could be (Gm)pa ra pa ra pa ra dise.
(F)Oh,
oh.
This could be (Gm)pa ra pa ra pa ra dise, (F)pa ra pa ra pa ra dise, could be (Gm)pa ra pa ra pa ra dise.
(F)Oh,
oh.
Ooh.
This could be (Gm)pa ra pa ra pa ra dise, (F)pa ra pa ra pa ra dise, could be (Gm)pa ra pa ra pa ra dise.
(F)Oh,
oh.
(Bb)Ooh,
ooh,
(G)ooh,
(Bb)ooh.
This page shows “Everglow” by Coldplay 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 140 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great way to build confidence with flowing eighth-note patterns in your right hand over steady left-hand chords — the key of G sits naturally under your fingers, so you can focus on keeping things smooth rather than fighting awkward hand positions. At 140 BPM the pulse moves briskly, so start at around 80–90 BPM and lock in the left-hand chord changes first; the transitions between G and Em are forgiving, but moving cleanly to and from C requires a quick hand shift that tends to trip people up at full speed. Once your left hand feels automatic, layer in the right-hand melody and pay close attention to where it syncopates against the beat — there are spots where the melody lands just before the downbeat, and rushing through those kills the song's emotional lift. Use sustain pedal generously but change it with each new chord to avoid mud. Loop the chorus section until the chord rhythm feels like breathing, not thinking. This is the piece that'll really solidify your sense of phrasing over a I–V–vi–IV framework, which you'll use in countless pop songs going forward.