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(Bm)How did you know
I was hop ing (Bm)for a sign?
(Bm)My heart was so
close to (Bm)clos ing time.
Some thing ’bout you (Bm)hit me like a freight train (A)to the chest, uh (G)huh, the (A)day we met, uh (Bm)huh.
My (A)lone li ness (CN.C.)left the room the sec ond that you (Bm)walked in.
(A)Some thing like a (G6)fe ver dream; have n’t (Bm)slept in (A)weeks.
I think I’m (G6)see ing things, like our (Bm)shad ows (A)danc ing us (G)out of our clothes.
I’ll be damned if you love me, damned if you don’t.
May be it’s (A)fate, may be it’s late.
Told you, I (Bm)ain't no li ar.
Watch ing you (A)leave's haunt ing my dreams.
Ba by, it (Bm)hit me like a
(CN.C.)One foot on the edge, uh huh, that sil hou ette, uh huh, I can’t for get.
Some thing ’bout you hit me like a (Bm)freight train (A)to the chest, uh (G)huh, the (A)day we met, uh (Bm)huh.
My (A)lone li ness (CN.C.)left the room the sec ond that you walked in.
Some thing like a fe ver dream; have n’t (Bm)slept in (A)weeks.
I think I’m (G6)see ing things, like our (Bm)shad ows (A)danc ing us (G6)out of our clothes.
I’ll be damned if you love me, damned if you don’t,
oh, if you don’t.
This page shows “Fever Dream” by Alex Warren 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 120 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great way to work on smooth, flowing pop accompaniment in the key of D major, where your left hand will cycle through common chord shapes built on D, A, Bm, and G — so get comfortable with those transitions early. At 120 BPM the tempo is moderate but steady, and the trickiest part is keeping your right-hand melody relaxed and expressive while your left hand locks into a consistent rhythmic pattern underneath. Watch the move from Bm to G especially — that shift can feel awkward if your hand isn't already anticipating the stretch. I'd suggest starting hands-separate at around 80 BPM, focusing on left-hand chord changes until they feel automatic, then layering in the melody. Once both hands are together, loop the chorus a few times since that's where the dynamics build and timing tends to rush. Use light sustain pedal to connect chords but lift cleanly on each change to avoid muddiness. This is the kind of song that'll genuinely solidify your I–V–vi–IV confidence, and once it clicks, you'll carry that skill into dozens of other pop tunes.