Look a (A)round you.
Look up here.
(A)Take time to (A)make time; (A)make time to (A)be there.
Look a (A)round.
Be a part.
(A)Feel for the (A)win ter, but (A)don’t have a (A)cold heart.
And I (E7)love you best.
You’re (E6)not like the (E7)rest.
You’re there when I need you; you’re there when I need,
I’m gon na need (A)you.
A (A)long time a (A)go, I had a la dy to (A)love.
She made me think of things I nev er thought of.
Now she’s gone and I’m on my own, but a (A)love song has come in to my (A)mind.
A (A)love song, it was there all the (A)time.
So, (D)la dy,
let me take a look at you (A)now.
You’re (D)there on the dance floor mak in’ me want you some how.
Oh, (D)la dy,
I think it’s on ly fair I should (A)say
to you:
(E)Don’t be think in’ that I don’t (D6/9)want you, ’cause (E7sus)may be I (A)do.
Look a (A)round,
come to (A7)me.
I have no (A7)an swer, but (A6)know where (A7)I want to be.
I look a (A)round,
(A)play a part.
I was (A)born in the (A7)win ter and (A6)cooled by (A7)a warm heart.
And I (E7)love you best.
You’re (E6)not like the (E7)rest.
You’re there when I need you; you’re there when I need,
I’m gon na need
you.
So, (A)do.
(E)Don’t be think ing that I don’t (D6/9)want you.
(E7sus)La dy, I (A)do.
This page shows “Lady” by Little River Band 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 120 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great workout for adding color tones to basic chord shapes — you'll move between A, A6, and A7 (and similar clusters on D and E), which often means shifting just one finger while the rest of your hand stays planted, so really lock in those anchor fingers. Your left hand follows an oompah bass pattern — root note, then the chord chunk up an octave — and at 120 BPM that needs to feel relaxed and automatic before you layer in the right hand, so start hands-separate and slower than you think. Watch the jump to that C chord; it's the one move outside the home key and it can catch you off guard if you're cruising on muscle memory. Loop that transition until it's boring. By the end of this piece, voice-leading between plain triads and their 6th or 7th extensions will feel like second nature — that's a skill you'll use in almost every pop song from here on out.