I was re born
when I was bro ken.
I would n’t be lieve,
I would n’t be lieve,
no.
Been through a storm.
No use in (Dmaj7)hop ing
you would come (F#m11)res cue
me.
Some how your love (Bm11)set me free.
And now
I can let my life pass me (Dmaj7)by
(C#m7)or
(Bm7)I can get down and (F#m11)try,
work it all out this (Dmaj7)life
(C#m7)time.
(Bm7)Work it on out this (A)time.
I can let it all pass me (Dmaj7)by
or (Bm7)I can get down and (A)try,
work it all out this (Dmaj7)life
(C#m7)time,
(Bm7)life
time.
There was a time
when love was un chos en,
and now I’m just (A)hop in’
for more.
And now I’m just (Dmaj7)reach in’ out for some thing (Bm7)bet ter than I had be fore, girl,
that ain’t a bout a mine or your world.
Ooh, and now
I can let my life pass me (Dmaj7)by
(C#m7)or
(Bm7)I can get down and (F#m11)try,
work it all out this (Dmaj7)life
(C#m7)time.
(Bm7)Work it on out this (A)time.
I can let it all pass me by,
or (Bm7)I can just try and (E)try.
I can move to the (F#m7)light,
oh, if I take it one day at a time.
Oh,
spread my love out and (A)fly,
oh.
I, can move to the light.) ooh, I can just make you un der stand that love is not a fair y tale in a mel o dy.
If you (Bm11)want it, you could have it, girl.
May be you (D)will
(Amaj9)see,
may be you will
see.
Ooh, whoa, whoa, (F#m11)whoa.
(Bm11)Life
time,
life
time.
Ooh,
now
I can let my life
(Dmaj7)pass me by...
(Bm11)I can just try and (F#m11)try,
work it all out this (Bm11)life
time,
life
time.
I can let my life
(Dmaj7)pass me by...
(Bm11)I can just try and (F#m11)try,
work it all out this (Bm11)life
time,
life
time.
I can let my life pass me (Dmaj7)by,
(C#m7)or
(Bm11)whoa,
woo, woo.
Work it on.
Life
time, Ooh, life ooh.
time.
(A)Ooh, woo.
I can let my life pass me (Dmaj7)by.
(Bm11)(There’s no way I (A)won’t leave
you.)
(Dmaj7)Life
(C#m7)time,
(Bm11)life
time.
(A)Ooh, woo.
I can let my life pass me (Dmaj7)by.
(Bm11)(There’s no way I (A)won’t leave
you.)
(Dmaj7)Life
(C#m7)time,
(Bm11)life
time.
(Dmaj7)Life
(C#m7)time,
(Bm11)life
time.
This page shows “Lifetime” by Maxwell 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 medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great way to level up your extended-chord vocabulary — you're working with twelve shapes including Amaj9, Dmaj9, and Dmaj7, so your right hand needs to get comfortable stretching into those lush ninth voicings without tensing up. Meanwhile, your left hand carries an oompah bass pattern throughout, alternating between root notes and chord tones at a relaxed 90 BPM — practice that pattern alone first until it feels automatic, because the moment you add the right hand you'll want zero mental effort on the bass. Watch the transitions from C#m7 to F#m7 and from Dmaj9 back to A especially; those are where most students hesitate and break the groove. Use the sustain pedal generously but change it cleanly on each chord shift to keep that melancholic wash without muddiness. Loop the trickiest four-bar sections at half tempo before speeding up. By the end, those major-ninth shapes will feel like home under your fingers.