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It was (E)sev en hun dred fence posts from your we place our to ours.
vows
(B)Nei ther one old of us tree.
was old e nough ought to drive a car.
(E)Some times it was rain ing.
re Some times me it would and shine.
that (B)We wore out that grav el road be tween your house and mine.
do.
(E)I’d start walk ing your way, (A)you’d start walk ing (E)mine.
We’d meet in the mid dle ’neath that (B7)old Geor gia pine.
We’d (E)gain a lot of ground ’cause we’d (A)both give a lit tle.
There ain’t no road too long and we’d (B)meet
in the (A)mid dle.
(A)It’s been (E)sev en years to mor row from since we place our to ours.
vows
(B)un der that old of us tree.
was old e nough ought to see a car.
(E)stand ing in the back yard re mind ing me it would and you that (B)if we don’t see eye to eye, there’s some thing we and mine.
do.
(E)I’d start walk ing your way, (A)you’d start walk ing (E)mine.
We’d meet in the mid dle ’neath that (B7)old Geor gia pine.
We’d (E)gain a lot of ground ’cause we’d (A)both give a lit tle.
There ain’t no road too long and we’d (B)meet
in the (A)mid dle.
(A)It’s been (B)meet
in the (C#m)mid dle.
Babe, I love the way we (B)work it out.
That’s what love is all a bout.
(E)I’d start walk ing your way, (A)you’d start walk ing (E)mine.
We’d meet in the mid dle ’neath that (B7)old Geor gia pine.
We’d (E)gain a lot of ground ’cause we’d both give a lit tle.
There ain’t no road too long and we’d (B)meet
in the (A)mid dle.
Oh.
(E)I’d start walk ing your way, (A)you’d start walk ing (E)mine.
We’d meet in the mid dle ’neath that (B7)old Geor gia pine.
We’d (E)gain a lot of ground ’cause we’d both give a lit tle.
There ain’t no road too long and we’d (B)meet
in the (A)mid dle.
Oh.
This page shows “Meet In The Middle” by Diamond Rio 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 E at 90 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great way to solidify your playing in the key of E, where your left hand drives the groove with an octave bass pattern — keep those octaves relaxed and even, because at 90 BPM you'll fatigue fast if you're tensing up. Your right hand will cycle through mostly friendly diatonic chords (E, A, B, C#m), but watch out for that borrowed C major chord — it'll catch your fingers off guard if you don't anticipate the shift down from C#m. Also pay attention to when B becomes B7; that subtle added note changes the color and you'll want to voice it cleanly. Start hands-separate and loop the section around that C chord until it feels automatic. Once you're comfortable, bring hands together at about 70 BPM before pushing to full tempo. This is the piece that'll make your I–IV–V–vi moves in E feel like second nature.