Look
at me,
I’m as (Gm7)help less as a (C)kit ten up a (Fmaj7)tree.
And I feel like I’m (Fm9)cling ing to a (Bb13)cloud, I (Cmaj7)can’t un der (Am7)stand, I get (Dm7)mist y
just hold ing your (Bb)hand.
Walk my (C)way
and a (Gm7)thou sand vi o (C)lins be gin to (Fmaj7)play,
or it might be the (Fm9)sound of your (Bb13)hel lo, that (Cmaj7)mu sic I hear,
I get (Dm7)mist y
the mo ment you’re (C)near.
You can say that you’re (Gm)lead ing me on,
but it’s (C)just what I (Fmaj7)want you to do.
Don’t you no tice how hope less ly I’m lost?
That’s why I’m (D9sus4)fol
low ing you.
(G)On my (C)own,
would I (Gm7)wan der (Am7)through this (Bbmaj7)won der land a (Fmaj7)lone,
nev er know ing my (Fm7)right foot from my (Bb13)left, my (Cmaj7)hat from my glove, I’m too (Dm7)mist y
and (F)too much in (E)love.
(A)I’m just too (D)mist y
and (G)too much in love.
This page shows “Misty” by Sarah Vaughan 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 C at 80 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a great way to get your hands around real jazz harmony — you'll move through major seventh, minor seventh, dominant, and diminished shapes, so expect your fingers to learn new neighborhoods on the keyboard. Your left hand carries a walking bass line at a relaxed 80 BPM, which sounds easy until you try to keep it steady under chord changes like Cmaj7 to C#dim7 to Dm7 — that chromatic walk-up is where most students stumble, so isolate it and loop it slowly until the fingering feels automatic. Practice hands separately first: get the walking bass confident on its own before layering in the melody. Watch the diminished chords especially (C#dim7, Fdim7, Cdim7) — they resolve beautifully but the finger shapes are compact and easy to misplace. Use gentle sustain pedal, changing on each new chord. This is the piece that'll make seventh-chord voicings feel like second nature to you.