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Hey, la dy, you, la dy, curs ing (F)at your (Gm)life.
You’re a (Cm7)dis con tent ed (F)moth er, and a (Gm)reg i ment ed wife.
I’ve no doubt you (F)dream a bout
the things (F)you nev er do but I (C7)wish some one had a talked to me like I want to talk to you.
Oh, I’ve (Bb)been to Geor gia and (F)Cal i for nia and an y where I could (Dm7)run.
(Eb)Took the hand Har of a (Bb)preach er man and we made love in the (F)sun.
But (Eb)I (F)ran (Bb)out of plac es and (F)friend ly fac es be cause I had to be (Dm7)free.
(Ebmaj9)I’ve been to (Bb)par a dise, but I’ve nev er (Eb)been to me.
Please, la dy, please, la dy, don’t just (F)walk a (Gm)way.
’Cause I (Cm7)have this need to (F)tell you why I’m (Gm)all a lone to day.
I can see so (F)much of me
still liv (F)ing in your eyes, won’t you (C7)share a part of a wea ry heart that has lived a mil lion lies?
Oh, I’ve (Bb)been to Nice and the (F)Isle of Greece when I sipped cham pagne on a (Dm7)yacht.
(Eb)I moved like Har low in (Bb)Mon te Car lo and showed them what I’ve (F)got.
I’ve (Eb)been (F)un (Bb)dressed by kings and I’ve (F)seen some things that a wom an ain’t s’posed to (Dm7)see.
(Ebmaj9)I’ve been to (Bb)par a dise, but I’ve nev er (Eb)been to me.
Some times, I’ve (Bb)been to cry ing for (F)un born chil dren who (Gm)might have made me com (Dm7)plete.
But I, I took the sweet life, I (Bb)nev er knew I’d be (Cm7)bit ter (Bb)from the (F)sweet.
I (Eb)spent (F)my (Bb)life ex plor ing the (F)sub tle whor ing that (Gm)costs too much to be (Dm7)free.
Hey, la dy, (Ebmaj9)I’ve been (Bb)to par a dise
but I’ve (Cm7)nev
er (Eb)been
to (Bb)me.
(Ebmaj9)I’ve been to (Bb)par a dise,
nev er (Eb)been to me.
(Bb)me.
(Ebmaj9)I’ve been to (Bb)par a dise,
nev er (Eb)been to me.
This page shows “I've Never Been To Me” by Charlene 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 Eb at 70 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement sits in E♭ at a gentle 70 BPM, so you have time to breathe — use that time to nail your chord voicings rather than rushing ahead. Your left hand will work through a mixed bass pattern that shifts between root notes and broken shapes, so practise it alone first until the jumps between E♭, B♭, and Gm feel automatic. The trickiest transitions involve moving between Fsus4 and F, then into Dm7 and C7 — those quick chromatic shifts in the middle of a phrase can trip you up if you haven't isolated them. Use the pedal to connect sustained chords but lift cleanly on each chord change to avoid mud, especially around the Ebmaj9 and Bbmaj7 voicings where close intervals blur fast. Loop the chorus at half tempo until your fingers memorise the path. This is a fantastic piece for training smooth seventh-chord movement across both hands — once these eleven chords feel natural under your fingers, you'll handle ballad progressions with real confidence.