You know I’m a (C)dream er,
but my (Em)heart’s of gold.
I had to (C7)run a way high so I (F)would n’t come home low.
Just when (C)things went right, it does n’t mean they were (Em)al ways wrong.
Just take this (C7)song and you’ll nev er be (F)left all a lone.
Take me to your (C)heart;
feel me in your (Em)bones.
Just one more (C7)night and I’m com ing off this (F)long and wind ing road.
I’m on my (Ab)way,
I’m on my (Bb)way;
home sweet (C)home.
To night, to night, I’m on my (Ab)way,
I’m on my (Bb)way;
home sweet (C)home.
You know that I (C)seen
too man y ro (Em)man tic dreams
up in (C7)lights, fall ing off the (F)sil ver screen.
My heart’s like an (C)o pen book for the whole (Em)world to read.
Some times (C7)noth ing keeps me to geth er (F)at the seams.
I’m on my (C)home.
Home sweet (Ab)home.
Home sweet (C)home.
Home sweet (Ab)home.
Home sweet
Ooh, I’m on my (Ab)way,
I’m on my (Bb)way;
home sweet (C5)home.
Yeah, I’m on my (Ab)way.
Just set me (Bb)free; home sweet (C5)home.
Hmm,
hmm,
hmm,
hmm.
This page shows “Home Sweet Home” by Motley Crue 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 C at 100 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a great way to build confidence with left-hand octave bass patterns — your left hand will stretch to consistent octaves throughout, so if that shape still feels awkward, spend a minute just bouncing octaves on C and F until it's relaxed and automatic. At 100 BPM you have breathing room, but watch the moves to Ab and Bb chords — those sit outside the key of C and will catch you off guard if you haven't mapped the hand shift in advance. Practice those two transitions slowly, hands separate, before putting everything together. The C-pedal sections let your left hand anchor on C while your right hand moves above it, so really lean into that stability instead of tensing up. C7 resolving to F is another spot to drill until it feels inevitable, not fumbled. Once those non-diatonic jumps are smooth, the whole piece clicks — and you'll have a real foundation for handling borrowed chords in future rock ballads.