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If I (A)on ly had the words
(A)to tell you,
if you (Bm7)on ly had the time to (Bm7)un der stand.
Though I (A)know it would n’t (A)change
your (D)feel ings,
and I (Bm7)know you’ll car ry on the best you can.
If I (A)on ly had the urge
(A)to tell you,
if you (Bm7)on ly knew how hard it is to say.
When the (A)sim ple lines have (A)all
been (D)tak en
and the (Bm7)ra di o re peats them ev ’ry day,
if I (C)nev er find the (C)song
(C)to sing you,
if you al ways had find it hard to com un pre hend,
well, you (C)know ly there would n’t be
much (Fmaj7)mean ing,
if I (F)all to that you can ask tired of an y man.
(C)gain.
(E7)Life
goes (E7)on and on,
and to night
will (G)soon be gone.
But if we (Fmaj7)try
we (Em7)can be (Dm7)sure.
(G)If I
(C)La,
(F7)la, la, la.
(D7)La, la, la.
If I (C)on ly had the (C)words
(C)to tell you,
if you (Dm7)on ly had the time to un der stand.
Oh, (G)but I (C)on ly have these (C)arms
to (Fmaj7)hold you,
and it’s (Dm7)all that you can ask of an y man.
This page shows “If I Only Had The Words” by Billy Joel 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 72 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement will stretch your chord vocabulary in a big way — with 26 different chords, your left hand needs to navigate some colorful transitions, especially moving between major, minor, and seventh shapes like Fmaj7 to Fm, or Dm7 to G9. At 72 BPM you have breathing room, but don't let the slow tempo fool you into coasting; use it to land each voicing cleanly before the next one arrives. I'd suggest learning the chord progression hands-separate first, drilling any passage where you shift between unrelated keys — the moves around Bb and F will feel foreign in a song rooted in A, so loop those bars until the shapes sit in your fingers. Watch your sustain pedal closely through the seventh chords; lifting too late will blur those rich harmonics into mud. The biggest stumbling point is usually the sheer number of chord changes, so mark the three or four trickiest swaps and slow-repeat them daily. This is the piece that'll make jazzy extended chords — ninths, suspended voicings, major sevenths — feel like a natural part of your playing instead of something intimidating.