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If a (A)pic ture paints a thou sand words, then why can’t I paint (Bm7)you?
The words will nev er show
the you I’ve come to know.
If a (A)face could launch a thou sand ships,
then (A9)where am I to go?
There’s no one home but you;
you’re all that’s left me (E7)too.
And when
my love
for life is run ning (D6)dry,
you (C#)come
and pour
your (Bm7)self
on (E7)me.
If a (A)man could be two plac es at one time, I’d be with (Bm7)you
to mor row and to day,
be side you all the way.
If the (A)world should stop re volv ing, spin ning (A9)slow ly down to die,
I’d spend the end with you;
and when the world was (E7)through,
then one
by one
the stars would all go (D6)out.
Then (C#)you
and I
would (Bm7)self
on (E7)me.
If a (Bm7)sim
ply (D)fly
a (A)way.
This page shows “If” by Bread 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 A at 100 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a lovely way to get comfortable with extended chords — you'll encounter shapes like Amaj9, A9, and Bm7 that add richness without demanding big stretches, so pay attention to how each voicing colors the melody differently. Your left hand follows an oompah bass pattern throughout, which at 100 BPM gives you plenty of time to land each bass note before bouncing up to the chord, but the real challenge is keeping that pattern smooth and quiet beneath the right-hand melody. Watch the transition from D6 into E7 and then the pull to F#7 — that's where most students stumble, so loop those two bars hands-separate until the fingering feels automatic. Use the sustain pedal lightly, changing it with each new bass note to avoid muddiness. Start at around 70 BPM and only speed up once both hands feel relaxed. This is the piece that will make ninth chords feel like home under your fingers.