Guess (E)mine is not the (G#m)first
heart (A)bro ken,
my (F#m7)eyes are not the (B7)first
to (E)cry.
I’m (Bm6)not the first to (C#7)know
there’s (Bm6)just no get tin’ (C#7)o
ver (F#m7)you.
I (E)know I’m just a (G#m)fool
who’s (A)will in’
to (F#m7)sit a round and (B7)wait
for (E)you.
But, (Bm6)ba by, can’t you (C#7)see
there’s (Bm6)noth in’ else for (C#7)me
to (F#m7)you.
I (F#m7)do.
I’m (G#m7)hope less ly (Gm7)de (F#m)vot ed to (Am)you.
But now
there’s (Dm7)no
where to hide
since you pushed my love a side.
I’m (C)out
of my head,
(Edim)hope less ly de (A7)vot ed to (Dm7)you,
hope less ly de (G13)vot ed to (Am)you.
My (G13)vot ed to (Fm)you.
This page shows “Hopelessly Devoted To You” by Olivia Newton-John 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 E at 99 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a beautiful exercise in navigating chromatic harmony — you've got twenty chords here, and many of them borrow from outside the key of E, so expect colorful shifts like G#m sliding down to Gm7, or that Edim acting as a brief passing chord. Your left hand plays an octave bass pattern throughout, which keeps things steady but demands accurate jumps, so practice that hand alone first at around 70 BPM until the leaps feel automatic. Your right hand needs to find smooth voice leading between those unexpected shapes — particularly when you hit the Bm6 and B9 voicings, keep common tones held and move the minimum number of fingers. Loop any passage where the harmony drifts away from E major (the Am–Dm7–G7 stretch especially) until it sits in your hands without hesitation. At 99 BPM the tempo is forgiving, so use that breathing room to really shape the dynamics. This is the piece that'll make chromatic borrowed chords feel like familiar friends rather than strangers.