He All a lone she was liv ing
in a world with out an end or be gin ning.
Ba by girl was liv ing life for the feel ing, but I don’t (Fmaj7)mind,
I don’t mind.
And all the wrongs she com mit ted,
she was numb, and she was so co de pend ent.
She was young, and all she had to was the cit y, but I don’t (Fmaj7)mind,
I don’t mind.
And I know
that she’s ca pa ble of (Em7)an y thing: it’s riv et ing.
But when
you wake up (Fmaj7)she’s al (C)ways (Dm7)gone, gone, (F)gone,
oh.
stand.) In the night she hears him call ing.
In the night she’s danc ing to re lieve the pain.
She’ll nev er walk a way.
(I don’t think you un der (Am)stand.) In the night when she comes crawl ing, dol lar bills and tears keep fall ing down her face.
She’ll nev er walk a way.
(I don’t think you un der (CN.C.)stand.)
He sang a song when he did it.
He was cold, and he was so un for giv ing.
Now she danc es to the song on the min ute, yeah, all the (Fmaj7)time,
all the time.
It make her weak when she hear it,
and it got her on her knees like re lig ion.
She was young, and she was forced to be a wom an, yeah, all the (Fmaj7)time,
all the time.
And I know
that she’s ca pa ble of (Em7)an y thing: it’s riv et ing.
But when
you wake up (Fmaj7)she’s al (C)ways (Dm7)gone, gone, (F)gone,
oh.
stand.) In the night she hears him call ing.
In the night she’s danc ing to re lieve the pain.
She’ll nev er walk a way.
(I don’t think you un der (Am)stand.) In the night when she comes crawl ing, dol lar bills and tears keep fall ing down her face.
She’ll nev er walk a way.
(I don’t think you un der (CN.C.)stand.)
(I don’t think you un der (Am)stand.
I don’t think you un der (G)stand.
I don’t think you un der (Em7)stand.
(I don’t think, I don’t think, (Fmaj7)I don’t think, I don’t think, (CN.C.)I don’t think you un der (I don’t think you un der (CN.C.)stand.)
This page shows “In The Night” by The Weeknd 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 112 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a great way to build fluency with minor-key chord shapes — your right hand will cycle through Am, Dm7, Em7, and Fmaj7 quite a bit, so getting comfortable stretching into those seventh voicings early will pay off. Your left hand holds a pedal bass pattern, meaning you'll anchor on one note while the right hand moves through changes above it; keep that left hand relaxed and steady so it doesn't drift in volume. At 112 BPM the tempo has a gentle push, but watch the transition from Fmaj7 to G — that's where most students hesitate because the hand shifts position quickly. I'd suggest learning the chord progression hands-separate first, then loop just that Fmaj7–G–Am turnaround at half speed until it feels automatic. Once you can land those changes without looking down, bring both hands together and gradually nudge the tempo up. This is the piece that'll lock in your minor seventh shapes so solidly you'll recognize them instantly in dozens of other songs.