You and I your heart must (C)joy and laugh ter.
To we must bring well, sal (Am)va tion back.
ter.
When Where there is (C7sus)love, me,
I’ll be there.
I’ll reach there to pro tect hand you to you;
with an un faith ish in (Am)all you do.
you.
Just call my (C7sus)name
and I’ll be there.
I’ll be there to com (Eb)fort you,
build my world of dreams a round you; I’m so glad that I found you.
I’ll be there with a love that’s strong.
I’ll be your strength.
I’ll keep hold ing on.
Let me I your heart must (C)joy and laugh ter.
To we must bring well, sal (Am)all I’m back.
ter.
When ev er you (C7sus)love, me,
I’ll be there.
I’ll be there to pro tect hand you to you;
with an un self ish love (Am)that re spects you.
Just call my (C7sus)name
and I’ll be there.
I’ll be there to com (Eb)fort you,
build my world of dreams a round you; I’m so glad that I found you.
I’ll be there with a love that’s strong.
I’ll be your strength.
I’ll keep hold ing on.
If you should ev er find (C)some one new,
I know he’d (F)bet ter be (Am)good to you,
’cause if he (C7sus)does n’t,
I’ll be there.
Don’t you know, ba by,
I’ll be there,
(F)I’ll be there.
When Just call my (C7sus)name; me,
I’ll be there.
I’ll be there,
(F)I’ll be there.
When ev er you (C7sus)need me,
I’ll be there.
be there.
This page shows “I'll Be There” by The Jackson 5 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 94 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great way to build confidence with ballad-style playing in the key of B♭, where your left hand drives the feel with a steady octave bass pattern — keep those octaves relaxed and leggy, never punchy, since 94 BPM gives you room to breathe but also exposes any stiffness. Your right hand navigates eleven chords, and the trickiest transitions are moving between F-family voicings — Fmaj9, Fsus4, and plain F sit close together, so drill those changes slowly until your fingers know the difference by feel, not just by sight. Watch the shift from A♭ to B♭ as well; that whole-step jump in the left hand octave plus a right-hand reshaping can trip you up mid-phrase. I'd suggest learning hands separately first, then loop the verse progression at around 70 BPM before bringing it up to tempo. Use gentle sustain pedal, changing cleanly on each new chord. This is the piece that'll make those smooth pedal transitions second nature for every ballad you play next.