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(G)Well, you’re (Em)not what I was (G)look ing for,
(G)but your (Em)arms were o pen (G)at my door.
(G)And you (Em)taught me what a (G)life is for: to see that or (Gsus)di nar (G)y is n’t.
Light me up
a gain.
Light me up
a gain.
And I (Em)want to keep this (G)all a live,
(G)and I (Em)want to see you (G)with my eyes;
(G)but I (Em)see you in the (G)fire is flies, and how ex tra (Gsus)d nary (G)y is that!
Light me up
a gain.
Light me up
a gain.
And I
a gain.
And you don’t hold back, so I won’t hold back.
You don’t look back, so I won’t look back.
Light me up
a gain.
Light me up
a gain.
(D)We are, we are, we are to night.
(C)We are, we are, we are for ev er.
(D)We are, we are, we are to night.
(C)We are, we are, we are for ev er.
for ev And you don’t We hold back, are, we are to night.
so I won’t We hold back.) are, we are for ev (And we don’t We look back, are, we are to night.
so I won’t We look back.) are, we are for ev And we don’t hold back, so I won’t hold back; we don’t look back, so I won’t look back.
Light me up
a gain.
Light me up
a gain.
Light me up
a gain.
Light me up
(D)We are, we are, we are to night.
(C)We are, we are, we are for ev er.
(D)We are, we are, we are to night.
(C)We are, we are, we are for ev er.
for ev er.
This page shows “Light Me Up” by Ingrid Michaelson 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 144 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a great way to build confidence with smooth chord transitions in the key of G, and at 144 BPM it moves briskly enough to keep your right hand honest about landing chord shapes cleanly. Your left hand plays an octave bass pattern throughout, so lock that in first — practice it alone until it feels automatic, because your brain needs to free up attention for the right hand's chord voicings. The six chords here are friendly, but watch the shift between Gsus4 and G especially: that single-note difference demands a light, controlled finger lift rather than a full hand reset. The Cmaj7 to D transition can also catch you off guard if you rush, so loop those two bars at half tempo until they're smooth. Once hands are comfortable separately, combine them in short four-bar phrases. This is the song that'll train your ears and fingers to navigate subtle chord color changes — like Gsus4 resolving to G — which is a skill you'll use in practically every pop ballad from here on.