Ten go la ca mi sa (D7)neg ra hoy mi mor es tá de (Gm)lu to.
Hoy ten go el al ma un a (Cm)pe na es por (D7)cul pa de tu (Gm)bru jo.
Hoy sé que tú ya no me (D7)quier es y o lo que más me (Gm)hie re.
Que ten go la ca mi sa (Cm)neg ra u na (D7)pe na que me (Gm)due le.
Mal pa re ce que só lo me que (D7)dé y fue pu ra to di ta tu men ti ra.
Que mal di ta ma la suer te la mí a que quel dí a te con (G)tré.
Por be (Am7)ber del ve (Bm)ne no ma (C)le vo de tu (G)mor, yo que (Am7)dé mor i (Bm)bun do y (C)llen o de do (G)lor.
Res pir (Am7)é de se (Bm)hu mo a (C)mar go de tu (G)dios y des de (Am7)que tú te (Bm)fuis te yo (C)só lo...
(Gm)Ten go, ten go la ca mi sa (D7)neg ra por que neg ra ten go (Gm)al ma.
Yo por tí per dí la (Cm)cal ma ca si (D7)pier do ta mi (Gm)ca ma.
Ca ma, ca ma, come on, (D7)ba by, te di go con di si (Gm)mu lo que ten go la ca mi sa (Cm)neg ra de ba (D7)jo ten go di (Gm)fun to.
Ten go la ca mi sa (D7)neg ra ya tu mor no me te (Gm)re sa.
Lo que ayer me su po (Cm)glo ria hoy me (D7)sa be pu ra (Gm)miér co les por la tar de tú que no (D7)lle gas ni si quie ra mues tras (Gm)se ñas y yo con la ca mi sa (Cm)neg ra tus ma (D7)le tas en la (Gm)puer ta.
Mal pa re ce que só lo me que (Gm)fun to.
Ten go la ca mi sa (D7)neg ra por que neg ra ten go (Gm)al ma.
Yo por tí per dí la (Cm)cal ma ca si (D7)pier do ta mi (Gm)ca ma.
Ca ma, ca ma, come on, (D7)ba by, te di go con di si (Gm)mu lo que ten go la ca mi sa (Cm)neg ra de ba (D7)jo ten go di (Gm)fun to.
This page shows “La Camisa Negra” by Juanes 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 C at 95 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great workout for managing minor-chord color changes — you'll move through Am7, Gm, Cm, and Bm, which means your fingers need to stay relaxed and ready to shift shape quickly, especially when jumping between G and Gm or C and Cm where only one note changes. Your left hand plays an octave bass pattern, so get comfortable with that steady octave reach at 95 BPM before adding the right hand; practice the left alone until it feels almost boring. The syncopated, upbeat rhythm in the right hand is where most students stumble — they rush the offbeats and lose the groove, so tap the rhythm on a table first or slow it down to around 65 BPM until the push-and-pull feel is natural. Loop the Bm-to-D7 transition a few extra times since that shape change is the trickiest in the set. This is the piece that'll really lock in your ability to handle chromatic chord borrowing with confidence.