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There’s noth ing (D)cold er than your shoul der when you’re drag ging me a long like you do,
like you do.
And then you (D)switch up with no warn ing and you kiss me like you want it.
How rude, how rude.
But I kind a like it (D)an y ways.
I don’t mind if this is gon na take a (C)mil lion days.
I know you’ll come a round to me e (D)ven tual ly, if you sit back, re lax, and join my (C)com pa ny, my com pa ny.
by, trust me.
(D)Once you know what (G)my love’s gon na feel like, (C)noth ing else will feel right.
You can feel like (D)moon beam ice cream, (G)tak ing off your blue jeans, (C)danc ing at the mov ies.
’Cause it feels so (D)mys ti cal, mag i cal.
Oh, ba by, ’cause (C)once you know, once you know, my love is so (D)mys ti cal, mag i cal.
Oh, ba by, ’cause (C)once you know, once you know.
My lit tle hard to get ba by, I wan na give you the world.
Not say ing you got ta chase me, but I would n’t mind it if you (D)gave me just a lit tle bit of some thing we can work it with.
But (C)all you do is push me out.
But I like it
(D)Once you know what (G)my love’s gon na feel like.
(D)Moon beam ice cream, (G)noth ing else will feel right.
(D)Mys ti cal, mag i cal.
Oh, ba by, it’s (C)mys ti cal, mag i cal.
This page shows “Mystical Magical” by Benson Boone 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 122 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement sits in C major at 122 BPM, which feels brisk once both hands are moving, so start at about 80 BPM and build up gradually. Your right hand carries a vocal-style melody with some syncopated rhythms — pay close attention to notes that land just before or after the beat, because rushing through those spots will flatten the song's natural groove. In your left hand, expect repeated chord patterns built around common pop shapes; focus on smooth transitions between chords, especially any jumps that cover more than a fifth, since those are where hesitation usually creeps in. Practice hands separately first, then combine them one four-bar phrase at a time. Loop any transition that trips you up at least ten times before moving on. This is a fantastic piece for locking in steady left-hand accompaniment patterns while your right hand floats a flexible, expressive melody on top — that independence between hands is a skill you'll use in almost every pop song from here on out.