(G)Gee, (Cm)but it’s (C6)tough (Cm)to be (Gmaj7)broke, (G6)kid.
It’s not a (D7)joke, kid, for it’s a (G)curse.
(G)My (Cm)luck is (C6)chang (Cm)ing, it’s (Gmaj7)got (G6)ten from sim ply (D7sus)rot (D7)ten to some thing (G)worse.
(Bm)Who knows, some (F#7)day I will (Bm)win, too.
(Bm7)I’ll be (E9)gin to reach my (E7)prime.
(G)Now, (Cm)though I (C6)see (Cm)what our (Gmaj7)end (G6)is, all I can (A9)spend is to just my (C)time.
(G)I can’t give you (G)an y (Bbdim7)thing but (Am7)love,
(D7)ba by.
(G)That’s the on ly (G)thing I’ve (A7)plen ty (Am7)of,
(D7)ba by.
(G7)Dream a while,
scheme a while;
(C)we’re sure to find
(A7)hap pi ness
and I guess
(Am7)all those things you’ve (Bb7)al (Ab7)ways (C7)pined (D7)for.
(G)Gee, I’d like to (G)see you (Bbdim7)look ing (Am7)swell,
(D7)ba by;
(G7)dia mond brace lets Wool worth does n’t (C)sell,
ba by.
Till that luck y (A7)day, you (Eb7)know darned (G)well,
(E7)ba by,
(Am7)I can’t give you (Em6)an y (C)thing (D7)but (G)love.
(G)I can’t give you (G)an y (Bbdim7)thing but (Am7)love,
(D7)ba by.
(G)That’s the on ly (G)thing I’ve (A7)plen ty (Am7)of,
(D7)ba by.
(G7)Dream a while,
scheme a while;
(C)we’re sure to find
(A7)hap pi ness
and I guess
(Am7)all those things you’ve (Bb7)al (Ab7)ways (C7)pined (D7)for.
(G)Gee, I’d like to (G)see you (Bbdim7)look ing (Am7)swell,
(D7)ba by;
(G7)dia mond brace lets Wool worth does n’t (C)sell,
ba by.
Till that luck y (A7)day, you (Eb7)know darned (G)well,
(E7)ba by,
(Am7)I can’t give you (Em6)an y (C)thing (D7)but (G)love.
(G)love.
This page shows “I Can't Give You Anything But Love” by Ella Fitzgerald 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 100 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a fantastic workout for your left-hand chord vocabulary — you'll cycle through 24 different chords, including diminished shapes like Bbdim7 and Ddim7 that act as smooth chromatic connectors between more familiar major and minor voicings. At 100 BPM the tempo is conversational, not rushed, so your real challenge is nailing those quick transitions between distant chord colors — watch especially for the jump from something like G6 into Ab7 or Bb7, where your hand has to shift position cleanly without hesitating. Start hands-separate and loop any four-bar phrase where a diminished or dominant ninth chord catches you off guard. Once each hand feels automatic, bring them together at around 70 BPM and nudge upward gradually. The playful, swung rhythm should feel loose, not rigid — lean slightly behind the beat rather than right on it. This is the piece that'll make extended chords like A9, C9, and E9 feel like old friends under your fingers.