(Am7)Fly me to the (Dm7)moon and let me (G7)play a mong the (C)stars.
(F)Let me (F)see what (Bm7)spring is like on (E7)Jup it er and (Am7)Mars.
(Eb7)In (Dm7)oth er words,
hold my (C)hand!
(Am7)In (Dm7)oth er words,
dar ling (Csus4)kiss (C)me!
(Am7)Fill my heart with (Dm7)song and let me (G7)sing for ev er (C)more.
(F)You are (F)all I (Bm7)long for all I (E7)wor ship and a (Am)dore.
In (Dm7)oth er words
please be (Em7)true!
In (Dm7)oth er words,
I love (C)you!
(Am7)Fly me to the (Dm7)moon and let me (G7)play a mong the (C)stars.
(F)Let me (F)see what (Bm7)spring is like on (E7)Jup it er and (Am7)Mars.
(Eb7)In (Dm7)oth er words,
hold my (C)hand!
(Am7)In (Dm7)oth er words,
dar ling (Csus4)kiss (C)me!
(Am7)Fill my heart with (Dm7)song and let me (G7)sing for ev er (C)more.
(F)You are (F)all I (Bm7)long for all I (E7)wor ship and a (Am)dore.
In (Dm7)oth er words
please be (Em7)true!
In (Dm7)oth er words,
I love (C)you!
(Em7)true!
In (Dm7)oth er words,
I love (C)you!
This page shows βFly Me To The Moonβ by Frank Sinatra in our color-coded kid songbook view β 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 C at 126 BPM, a slightly more challenging arrangement β practice each phrase slowly first.
This arrangement walks you through one of jazz's most essential chord progressions β the iiβVβI β over and over, so by the end your hands will know Am7 to Dm7 to G7 to C almost on autopilot. Your left hand plays block chords, which keeps things manageable, but watch the chromatic passing chords like Db7, Eb7, and Ebdim7; those shapes will sneak up on you if you haven't isolated them first. Start hands-separate at around 80 BPM and really nail each chord change before speeding up β at 126 BPM you won't have time to search for notes. Loop the bridge separately, since that's where the trickiest transitions cluster. When two chords share common tones, keep those fingers planted and move only what needs to move. Get this one smooth and you'll have a rock-solid foundation for practically any jazz standard that comes next.