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(Dm)I know she said, “It’s al right.
You will make it up next time.”
(Dm)I know she knows it’s not right.
There ain’t no use in lyin’.
Well, (Dm)may be she thinks I know some thin’, may be, may (Bb)be she thinks it’s fine.
Or (Dm)may be she knows some thin’ I don’t.
I’m so,
I’m so tired,
I’m so tired of try in’.
It seems to me that may
be
it pret ty much al ways means no.
So don’t tell me
you (C)might just let it go.
But of ten times we’re la
zy.
It seems to stand in my way,
’cause (Bb)no one, no, not no one likes to be let down.
(Dm)I know she loves the sun rise,
no long er sees it with her (F)sleep ing eyes, and
I know that when she said she’s (F)gon na try.
Well, it might not work be cause of (F)oth er ties.
And
I know she u su’ly has some (F)oth er ties.
And
I would n’t wan na break ’em now, I would n’t wan na break ’em.
May be she’ll help me (F)to un tie this, but un til then, well,
I’m gon na have to lie, too.
It seems to me that may
be
it pret ty much al ways means no.
So don’t tell me
you (C)might just let it go.
The hard er that you try, ba by, the hard er you’ll fall,
e ven with all the mon ey in the whole wide world.
(F)Please, please, please don’t pass me, please, please, please don’t pass me, please please, please don’t pass me by.
Ev ’ry thing you know a bout me, now ba by, you’re gon na have to change.
You’re gon na call it by a brand new name.
Ooh, ooh, ooh, (F)please, please, please don’t drag me, please, please, please don’t drag me, please, please, please don’t drag me down.
Just like the tree down by the wa ter, ba by, I shall not move,
e ven af ter all the sil ly things you do.
Ooh, ooh, ooh, (F)please, please, please don’t drag me, please, please, please don’t drag me, please, please, please don’t drag me down.
This page shows “Flake” by Jack Johnson 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 Bb at 92 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great way to build confidence with left-hand octave bass patterns — your left hand will stay busy bouncing between root-note octaves at a steady 92 BPM, so start hands-separate and focus on keeping that pulse relaxed and even before adding the right hand. You're working in the key of B♭ with five chords, and the trickiest moment is the A major chord — it's borrowed from outside the key and uses a C♯, so your fingers need to commit to that shape without hesitating. Pay special attention to the transition from A up to B♭, since it's just a half-step shift that can sound sloppy if you rush it. Loop that two-chord move slowly until it feels automatic. The upbeat pop rhythm against the melancholic harmony gives the song its tension, so once your hands are together, resist speeding up — lock into the groove and let the feel breathe. This is the piece that'll make B♭-major chord shapes feel like home under your hands.