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Your sub tle ties,
they stran gle me.
I can’t ex (Am)plain my self at all.
And all the (G)wants
and all the (Em)needs,
all I don’t (Em)want to need at all.
The walls start breath in’.
My mind’s un weav in’.
May be it’s best you leave me a lone.
A weight is lift ed on this eve nin’.
I give the fi nal blow.
When (Csus2)dark ness turns to light, it ends to night.
It ends to night.
A fall ing star, at least I fall a lone.
I can’t ex (C)plain what you can’t ex plain.
You’re find in’ things
that you did n’t know.
I look at (Em)you with such dis dain.
The walls start breath in’.
My mind’s un weav in’.
May be it’s best you leave me a lone.
A weight is lift ed on this eve nin’.
I give the fi nal blow.
When (C5)dark ness turns to light, it ends to night.
It ends to night.
Just a lit tle in (C5)sight won’t make this right.
It’s too late to fight.
It ends to night.
It ends to night.
Now I’m (G5)on my own side.
It’s bet ter than (F5)be in’ on your side.
It’s my (G)fault when you’re blind.
It’s bet ter that I (F5)see it through your eyes.
All these (F5)thoughts locked in side,
now you’re the (G5)first to know.
When (C5)dark ness turns to light, it ends to night.
It ends to night.
Just a lit tle in (C5)sight won’t make this right.
It’s too late to fight.
It ends to night.
It ends when
It ends to night,
to (A5)night,
in (C5)side.
When (A5)dark ness turns to light, it ends to night.
This page shows “It Ends Tonight” by The All-American Rejects 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 90 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a fantastic workout for your chord vocabulary — eighteen different shapes including power chords, sus voicings, and seventh chords means your right hand will constantly be adjusting finger positions. At 90 BPM the tempo is forgiving, so use that breathing room to land each new shape cleanly rather than rushing ahead. Your left hand plays an octave bass pattern throughout, which keeps things steady but demands a comfortable stretch, so warm up that hand first. I'd suggest learning the verse and chorus separately, hands alone, at around 60 BPM until the chord transitions — especially moving between Fmaj7, Csus2, and Gsus4 — feel automatic. Those sus and seventh chords are where most students stumble, because the shapes are close to familiar major chords but not quite. Nail those and you'll walk away with real confidence reading beyond basic triads, which pays off in everything you play next.