(F#m)Ooh.
You’ll re (F#m)mem ber me when the west wind moves
a mong the fields of bar ley.
(E)You can (F#m)tell the sun in (F#m7)his jeal ous sky
when we (Bm7)walked in fields of gold.
So she (F#m)took her love for to gaze a while
a mong (E7)the fields of bar ley.
In (E)his arms she fell as her hair came down,
a mong the fields of gold.
Will you (F#m)stay with me,
will you be my love
a mong the fields of bar ley?
And you can tell the (F#m7)sun in his jeal (D)ous sky
when we (Bm7)walked in fields of gold.
I nev er made (E)prom is es light ly,
and there have been some that I’ve bro ken,
but I swear in the (Esus)days still left we will (D)walk in fields of gold.
We’ll
walk in fields of gold.
(F#m)took her love for to gaze a while
a mong (E7)the fields of bar ley.
In (E)his arms she fell as her hair came down,
a mong the fields of gold.
Will you (F#m)stay with me, will you be my love
a mong the fields of bar ley?
And you can tell the (F#m7)sun in his jeal (D)ous sky
when we (Bm7)walked in fields of gold.
I nev er made (E)prom is es light ly,
and there have been some that I’ve bro ken,
but I swear in the (Esus)days still left we will (D)walk in fields of gold.
We’ll
walk in fields of gold.
(F#m)Ooh.
Man (E)y (F#m)years have passed (A)since those sum mer days
a mong the (E7)fields of bar (A)ley.
See (F#m)the chil dren (F#m7)run as the sun goes down
as you lie (E7)in fields of gold.
You’ll re (F#m)mem ber me when the west wind moves
a mong (E7)the fields of bar ley.
You (F#m)can tell the (F#m7)sun in his (D)jeal ous sky
when we (Bm7)walked in fields of gold.
When (Dsus2)we walked in fields of gold.
When we walked in (E)fields of gold.
(F#m)Ooh.
This page shows “Fields Of Gold” by Eva Cassidy 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 A at 100 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a beautiful workout for smooth chord transitions — you're juggling twelve chords in the key of A, and many of them are suspended voicings like Asus4, Dsus2, and Esus4 that differ from their parent chord by just one note. Train your fingers to hold the common tones and move only what needs to move; that's the secret to making those shifts feel effortless rather than clunky. Your left hand has a walking bass line at 100 BPM, so start hands-separate and slow it to around 70 until the bass feels automatic — you need that hand on autopilot before you layer the right hand on top. Watch the Bm7 to F#m7 transition especially; loop those two bars until the reach feels natural. Pedal lightly on each chord change to keep the ballad warmth without blurring the bass movement. If you can master the sus-chord resolutions here, you'll carry that skill into dozens of other pop ballads — it's one of the most transferable things this song teaches.