I was (Gmaj7)hap py in the haze of a (Em7)drunk en hour, day, but (Am7)heav en knows, I’m (Am7)mis ’ra ble now.
I was (Gmaj7)look ing for a job, and then I (Em7)found a job, and (Am7)heav en knows, I’m (C)mis ’ra ble now.
(Gmaj7)In my life,
(Gmaj7)why do I give val u ’ble time
to (Em7)peo ple who don’t (D)care if I
live or the die?
Two was (Gmaj7)lov ers en in twined haze of a (Em7)pass me by, and (Am7)heav en knows, I’m (Am7)mis ’ra ble now.
I was (Gmaj7)look ing for a job and then I (Em7)found a job, and (Am7)heav en knows, I’m (D)mis ’ra ble now.
(Gmaj7)In my life,
oh, why do I give (Am7)val u ’ble time
to (Gmaj7)peo ple who don’t care if I
live or die?
What she (Gmaj7)asked of in me haze at the (Em7)end of the day, Ca (Am7)lig u la would (Am7)mis have ble blushed.
“Oh, you’ve (Gmaj7)been in the house job, too then long,” (Em7)found she said, and (Am7)I en knows, I’m (C)nat ur ’lly fled.
(Gmaj7)In my life,
(Gmaj7)why do I give val u ’ble smile
at (Em7)peo ple who I’d (D)much rath er
kick in the eye?
I was (Gmaj7)hap ers py in the haze of a (Em7)drunk en hour, but (Am7)heav en knows, I’m (Am7)mis ’ra ble now.
“Oh, you’ve (Gmaj7)been in the house job too then long,” (Em7)found she said, and (Am7)I en knows, I’m (D)na tur ’lly fled.
(Gmaj7)In my life,
oh, why do I give (Am7)val u ’ble time
to (Gmaj7)peo ple who don’t care if I
live or die?
What she
This page shows “Heaven Knows I'm Miserable Now” by The Smiths 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 G at 113 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement will really stretch your chord vocabulary — with 17 different chords including some colorful ones like C#6, Ebmaj7, and Cmaj7, your right hand needs to stay loose and ready to shift shapes quickly. Start by drilling the less familiar voicings in isolation before you string them together. Your left hand follows an oompah bass pattern, which at 113 BPM sits in a comfortable mid-tempo pocket, but the challenge is keeping that pulse steady while your right hand navigates chromatic chord moves — especially transitions involving C to C#6 or D to Ebmaj7, where a half-step root shift can trip you up if you're not anticipating it. Practice hands separately first, then combine at around 80 BPM until the jumps feel automatic. Use light sustain pedal to connect the ballad-style phrases without muddying those jazzy extensions. The biggest stumbling point is usually rushing through unfamiliar chords, so loop any four-bar section that feels sticky until it's smooth. This is a fantastic piece for building confidence with extended and altered chords in a real musical context — once these shapes are under your fingers, you'll find them everywhere.