I nev er had (E)no one
and you be I could count on.
I’ve been let down so man y times.
And I was tired of hurt in’,
you’re so tired of search in’
till you walked in how to my life.
It was a feel in’
I’d nev er known.
And, oh, the for the first (A)in your eyes
I did n’t feel a lone.
You’re (A)more
than a (Bm7)lov er.
There could nev er be an (Bm7)oth er
to make me feel the way you do.
(A)Oh,
we just get clos er.
I fall in love all o ver
ev ’ry time I look at you.
I don’t know where I’d be
with out you here with me.
Life with you makes per fect sense.
You’re (Bm9)my
best (A)friend.
You’re my best friend,
oh, yeah.
You stand er had (E)by me
and you be lieve could in me
I’ve like no bod y ev er has.
And When my world goes cra zy,
you’re right there to save me.
You make me see how much I have.
And still a trem ble
I’d when we touch.
And, oh, the look the first (A)in your eyes
I did when we make love.
You’re (A)more
than a (Bm7)lov er.
There could nev er be an (Bm7)oth er
to make me feel the way you do.
(A)Oh,
we just get clos er.
I fall in love all o ver
ev ’ry time I look at you.
I don’t know where I’d be
with out you here with me.
Life with you makes per fect sense.
You’re (Bm9)my
best (A)friend.
You’re my best friend,
oh, yeah.
(A)friend.
Ooh, oh, ooh, oh.
You’re my best friend,
uh, (E)huh.
You’re friend.
Oh, whoa, ooh, oh.
You’re my best (Bm7)friend,
oh, yeah.
(A)Ooh,
you’re my best (Bm7)friend.
(A)Ooh,
you’re my best (Bm7)friend.
This page shows “My Best Friend” by Tim McGraw 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 120 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great way to build confidence with extended minor chords — Bm7 and Bm9 show up often, and the trick is keeping your hand relaxed enough to voice those wider shapes without tensing up through the wrist. Your left hand holds a pedal bass pattern, mostly sitting on A, which sounds simple but demands steady, even timing at 120 BPM so it doesn't rush ahead of the melody. Watch the transition from Esus4 resolving to E; let that suspension ring just long enough before releasing, because that's where the emotional pull lives. I'd suggest learning the right-hand melody and chord shapes hands-separate first, then loop the verse section at around 80 BPM until the Bm7-to-D and Em-to-A moves feel automatic under your fingers. The C chord is a brief borrowed moment that can catch you off guard — spot it early so you don't hesitate. Once this clicks, you'll have a real feel for how pedal bass anchors a country ballad while your right hand floats above it, and that's a skill you'll use in dozens of songs from here on out.