Oh, oh, oh, (Eb)I,
I was a (Bb)cit y boy;
to ride in to (Ab)dan gers where I’d al ways run, a (Abm)boy who had his fun.
I would n’t have (Eb)done
(Cm7)all the things that (Fm7)I have done
if I (Bb)knew one (Eb)day you’d come.
(Ab)No, ba by (Abm)(no, ba by), (Eb)no, ba by (no, ba by).
(Bb)Oh, oh, oh, (Eb)I,
I know it (Bb)breaks your heart
to pic ture the (Ab)on ly one you want and love in (Abm)some one else ’s arms.
I would n’t have (Eb)done
(Cm7)all the things that (Fm7)I have done
if I (Bb)knew one (Eb)day you’d come.
(Ab)No, ba by (Abm)(no, ba by), (Eb)no, ba by (no, ba by).
(Bb)Oh, oh, oh,
(F)Oh, ba (F#)by, (G)please,
let’s leave the past be (Cm)hind us, be hind us, (F)so (F#)that (G)we
can go where love will (Cm)find us, yeah, will find us.
(G)I (Gb)know (F)mon sters will leave me, but (Gm)I (Ab)know that you’ll be (Bb)lieve me.
Ba by, (Eb)I,
I wish we were (Bb)sev en teen
so I could (Ab)give you all the in no cence
that you give to me.
Oh, I would n’t have (Eb)done
all the things (Fm7)that I’ve done
if I (Bb)knew
one (Eb)day you’d come,
if I knew one day (Eb)you’d come.
This page shows “If I Knew” by Bruno Mars 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 Ab at 87 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a wonderful workout for smooth chord transitions in A♭ major, and at 87 BPM you have just enough breathing room to nail each change — but not enough to fake your way through sloppy hand shifts. Your left hand follows an octave bass pattern, so lock that in first: practice it alone until the jumps between A♭, E♭, and the chromatic moves toward F♯ and G♭ feel automatic. The real challenge lives in your right hand navigating thirteen chords, especially the shifts between C minor and its C minor 7 voicing and the momentary detour into A♭ minor — those color changes demand precise finger placement without hesitation. I'd suggest looping the trickiest four-bar sections at around 60 BPM, hands separate, then gradually bring them together before pushing toward full tempo. Watch your pedal work carefully; in a ballad this exposed, holding the sustain pedal through chord changes will blur everything into mud, so practice clean pedal swaps on every chord root change. Once this clicks, you'll have real confidence handling chromatic bass movement and extended chord shapes in any pop ballad you tackle next.