(CN.C.)I for (F)got to re mem ber to for (C7)get her.
soft I can’t seem to get her off my (F)mind.
I (Bb)thought I’d nev er miss her but be (F)I’ve found out (C7)some (F)how,
I think a bout her (C7)al most all the (F)time.
The (Bb)day she went a way
I made my self a (F)prom ise
that I’d soon for get we ev er (C7)met.
But (F)some thing sure (C7)is (F)wrong
(F7)’cause (Bb)I’m so blue and lone ly.
I for (F)got to re (C7)mem ber to for (F)get.
(CN.C.)When I’m (F)cud dled up danc ing with an (C7)oth er,
soft mu sic and ro mance her fill the (F)air.
I (Bb)think I’m up in heav en, but be (F)fore the dance (C7)is (F)through,
I find my self pre (C7)tend ing that she’s (F)there.
The (Bb)day she went a way
I made my self a (F)prom ise
that I’d soon for get we ev er (C7)met.
But (F)some thing sure (C7)is (F)wrong
(F7)’cause (Bb)I’m so blue and lone ly.
I for (F)got to re (C7)mem ber to for (F)get.
(CN.C.)When I’m (F)get.
This page shows “I Forgot To Remember To Forget” by Elvis Presley 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 Bb at 120 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a great way to get comfortable with an oompah bass pattern in your left hand — you'll alternate between a low root note and a higher chord chunk in a steady boom-chah rhythm at 120 BPM, which feels like a relaxed walking pace. Your right hand carries a smooth, vocal-style melody mostly in stepwise motion, so the real challenge isn't the notes themselves but keeping both hands independent and steady. Watch the transitions into the seventh chords — Bb to Bb7, F to F7, and C to C7 each add just one note, but your fingers need to find that lowered tone without hesitating. I'd suggest practicing your left-hand oompah pattern alone first until it feels automatic, then layer in the melody at half tempo. Loop the spots where the chord changes come on an off-beat, because that's where most students rush. Once this clicks, you'll have a solid foundation for any song that uses a bass-and-chord comping pattern — that skill transfers everywhere.