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(Dmaj13)Was n’t real ly think ing, was n’t look ing, was n’t search ing for an an swer
in the (Bm7)moon light
when I (Em7)saw your face.
(Dmaj13)Saw you look ing at me; saw you peek ing out from un der moon beams,
through the (Bm7)palm trees
sway ing (Em7)in the breeze.
I (Gmaj7)know
I’m feel in’ so much more than ev er be (Gm6)fore.
And (Gmaj13)so
I’m (Gmaj7)giv ing more to you
than I (A7)thought I could do.
(Dmaj13)Don’t know how it hap pened, don’t know why, but you don’t real ly need a rea son,
when the (Bm7)stars shine,
just to (Em7)fall in love.
(Dmaj13)Made to love each oth er; made to be to geth er for a life time
in the (Bm7)sun shine,
fly ing (Em7)in the sky.
I (Gmaj7)know
I’m feel in’ so much more than ev er be (Gm6)fore.
And (Gmaj13)so
I’m (Gmaj7)giv ing more to you
than I (A7)thought I could do.
(Gmaj13)so
I’m (Gmaj7)giv ing more to you
than I (A7)thought I could do.
Now I (E)know love is real,
soar ing (Bm7)sky high, as the (Fdim)an gels try
(Em7)let ting you and I
(A7)fly (G6)love.
This page shows “Fly Love” by Jamie Foxx 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 116 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a great way to get your hands comfortable with jazzy chord colors without being overwhelmed — the block bass pattern in your left hand keeps things grounded while your right hand carries the melody over some beautiful voicings like Gmaj7, Bm7, and Bbmaj7. Pay close attention to the Bbmaj7 and Fdim transitions: those are outside the key of D, so your fingers won't fall into familiar positions automatically — slow those bars down to half tempo and loop them until the shapes feel natural. At 116 BPM the rhythm is gentle enough to breathe, but you'll want to practice hands separately first so the left-hand chord changes don't pull focus from your melodic phrasing. Use a light sustain pedal, lifting cleanly on each chord change to avoid muddying those rich extensions. A common stumble is rushing through the Gm6-to-A7 move — give yourself the full beat there. Once this clicks, you'll have real confidence moving between major seventh and minor seventh shapes, which opens up a huge number of jazz-standard and pop ballad arrangements for you going forward.