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I’m gon na make a change,
for once in my life.
It’s gon na feel real good, gon na make a dif f’rence, gon na make it right.
As I turn up (D)the col lar on my fav (D)’rite win ter coat, this wind is blow in’ my mind.
I see the kids in the (D)street with (Em7)not e nough to eat.
Who am I to be blind?
Pre tend ing not to see their needs.
A sum mer’s dis re gard, a bro ken bot tle top,
and a one man’s soul.
They (Am7)fol low each oth er on the wind, (G)ya’ know,
’cause they got no where to go.
That’s why I want you to know.
I’m (G)start ing with the (C)man in the (C)mir ror,
I’m (G)ask ing him to (C)change his ways.
And no (G)mes sage could have (C)been an y (A)clear er: If you (D)wan na make the world a bet ter place, take a look at your self, and then make a (C)change.
Na na na, (D)na na na, na (C)na, na nah.
I’ve been a (D)vic tim of a self ish (D)kind of love.
It’s time that I re al ize
that there are (G)some with no home,
not a (Em7)nick el to loan.
Could it be (C)real ly me, pre tend ing that they’re not a lone?
A wil low deep ly scarred, some bod y’s bro ken heart,
and a washed out dream.
They (Am7)fol low the pat tern of the wind, (G)ya’ see,
’cause they got no place to be.
That’s why I’m start ing with me.
I’m (G)start ing with the (C)man in the (C)mir ror,
I’m (G)ask ing him to (C)change his ways.
And no (G)mes sage could have (C)been an y (A)clear er: If you (D)wan na make the world a bet ter place, take a look at your self and then make a change.
I’m (G)start ing with the (C)man in the (C)mir ror,
I’m (G)ask ing him to (C)change his ways.
And no (G)mes sage could have (C)been an y (A)clear er: If you (D)wan na make the world a bet ter place, take a look at your self and then make a change.
look at your self and then make that (Ab)change!
I’m (Ab)start ing with the (Db)man in the (Db)mir ror, (Oh, (Ab)yeah!) I’m (Ab)ask ing him to (Db)change his ways.
(Bet ter (Ab)change!) No (Ab)mes sage could have (Db)been an y (Bb)clear er.
If you (Eb)wan na make the world a bet ter place, take a look at your self and then make the change.
You got ta get it right, while you got the time.
’Cause when you close your heart, can’t then you close your your (Ab)mind!
That man, With that (Db)man in that the mir ror, oh that (Ab)yeah!
I’m that ask ing him to (Db)change his ways.
man.
Bet ter You (Ab)change!
No, that mes sage could have (Db)been an y (Bb)clear er.
If you (Eb)wan na make the world a bet ter place, take a look at your self and then make a change.
Hoo!
Hoo!
Na na Hoo!
na na na, Hoo!
na na, Hoo!
nah.
Gon na feel real good yeah!
now!
Yeah yeah!
Yeah (Eb)yeah!
Na na na, Yeah yeah!
na na, na na, na Oh no, no no.
I’m gon na make a change.
It’s gon na feel real good!
Come on!
Just lift your self, you know.
You’ve got to stop it.
Your self!
(Yeah!
Make that change!) I’ve got to make that change, to day!
Hoo!
(Man in the mir ror.) You got to, you got to not let your self, broth er.
Hoo!
self!
(Yeah!
Make that change!) I’ve got to make that change, to day!
Hoo!
(Man in the mir ror.) You got to, you got to not let your self, broth er.
Hoo!
This page shows “Man In The Mirror” by Michael Jackson 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 90 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great workout for navigating chromatic chord movement — you've got 13 chords here, and several of them (Ab, Bb, Db, Eb, Fm7) sit outside the home key of G, which means your hands will shift into less familiar territory during the modulation sections. Your left hand follows a pedal bass pattern, so keep it steady and anchored while your right hand handles the chord changes above; that independence between hands is the real skill being built here. At 90 BPM you have breathing room, so use it — practice the modulation passages hands-separate first, then loop just those transitions until the jumps feel automatic. The trickiest stumbling point is usually the lift from the verse's diatonic chords (G, C, D, Em7) into the flats; if you lose your place, slow that four-bar stretch to half tempo and build back up. Nail these shifts and you'll have genuine confidence with key changes in pop music going forward.