What will you do when you get lone ly?
No one (C)wait ing (D)by your (E)side.
You’ve been (B7)run ning and (E)hid ing much too (A)long.
You know it’s (B7)just your fool ish (E)pride.
(A5)Lay la,
you’ve (C)got me on (Dm)my knees.
Lay la,
I’m (C)beg ging, dar (Dm)ling, please.
Lay la,
(C)dar ling, won’t (Dm)you ease my wor ried mind?
Tried the to give you con so la tion,
your old (C)man won’t (D)let you (E)down.
Like a (B7)fool, ning I (E)fell in love with (A)you.
You turned my (B7)whole world up side (E)down.
(A5)Lay la,
you’ve (C)got me on (Dm)my knees.
Lay la,
I’m (C)beg ging, dar (Dm)ling, please.
Lay la,
(C)dar ling, won’t (Dm)you ease my wor ried mind?
mind?
Lay la,
you’ve (C)got me on (Dm)my knees.
Lay la,
I’m (C)beg ging, dar (Dm)ling, please.
Lay la,
(C)dar ling, won’t (Dm)you ease my wor ried mind?
Lay la mind?
Lay la,
you’ve (C)got me on (Dm)my knees.
Lay la,
I’m (C)beg ging, dar (Dm)ling, please.
Lay la,
(C)dar ling, won’t you ease my wor ried (Dm)mind?
This page shows “Layla” by Eric Clapton 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 G at 114 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a great workout for your left hand — the walking bass pattern keeps it moving steadily, so practice that hand alone at around 80 BPM until the motion feels automatic before adding your right hand. With eleven chords in the mix, the real challenge is the less familiar shapes like C#m, F#m7, and G#7; isolate those transitions and loop them until your fingers find the keys without hesitation. Watch the shift from C#m to G#7 especially — it's a reach that trips people up at tempo. At 114 BPM you have breathing room, but the walking bass can drift if you rush, so lock in with the beat and let the melancholic feel settle in naturally rather than pushing forward. Use light pedal to connect chord tones without muddying that bass line. This is the piece that'll make minor-key chord changes feel like second nature to you.