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(Dm)I re mem ber years a go (F)some one told me I should take (C)cau tion when it comes to love, (Bb)I did.
And (Dm)you were strong and I was not, (F)my il lu sion, my mis take.
(C)I was care less, I for got, (Bb)I did.
And (Gm)now when all is done there is noth ing to (Am)say.
You have gone and, so ef fort less (Bb)ly, you have won.
You can go a head, (C)tell them.
Tell them all I (Dm)know now, shout it from the (F)roof tops, write it on the (C)sky line, all we had is (Bb)gone now.
Tell them I was (Dm)hap py, and my heart is (F)bro ken, all my scars are (C)o pen.
Tell them what I (Bb)hoped would be im pos si (Dm)ble,
im pos si (F)ble,
im pos si (C)ble,
im pos si (Bb)ble.
Im pos si (Dm)ble,
im pos si (F)ble,
im pos si (C)ble,
im pos si (Bb)ble.
This page shows “Impossible” by James Arthur 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 G at 84 BPM, a slightly more challenging arrangement — practice each phrase slowly first.
This arrangement is a great way to build comfort with minor chord shapes — your left hand will cycle through Am, Dm, Gm, and their neighbors Bb, C, and F using a steady block-bass pattern, so focus on clean, even presses rather than speed. At 84 BPM you have breathing room, but watch the move into Bb: that shape catches beginners off guard, so isolate any passage where Gm lands on Bb and loop it slowly until your fingers know the stretch. Start hands-separate, getting the left-hand chord changes automatic before layering in the right-hand melody. Once you combine them, keep your wrist relaxed and let a touch of sustain pedal connect the sadder phrases — lift it on each chord change to avoid mud. By the end, those six minor-heavy chord transitions will feel like second nature, and that confidence carries straight into dozens of other pop ballads.