Start spread in’ the (F)news,
I’m leav ing to (Gm7)day,
(C7)I (Gm7)wan (C7)na (F)be a part of it New York, New (Gm7)York.
These va ga bond (F)shoes
are long ing to (Gm7)stray,
(C7)and (Gm7)step (C7)a (F)round the heart of it New York, New (F7)York.
I wan na (Bbmaj7)wake up in the (Bbm6)ci ty that does n’t (F6)sleep
(Fmaj7)to (Gm7)find (Fmaj7)I’m (Am7)king of the hill,
top of the (Gm7)heap.
My lit tle town (F)blues
are melt ing a (Gm7)way,
(C7)I’ll (Gm7)make (C7)a (F)brand new start of it in old New (Cm7)York.
If I can (Bb)make it (Bbm6)there, I’d make it (F)an y (Daug7)where, (D7)it’s (C7)up (D7)to (Gm7)you, (Am7)New (Bbmaj7)York, (C11)New (F)York.
(Am7)king of the hill, (D7)head of the list, (Bbm7)cream of the crop at the (Db7)top of the heap.
My lit tle town (Gb)blues
are melt ing a (Abm7)way,
I’ll (Ebdim)make (Fm7)a (Gb)brand new start of it in old New (Dbm7)York.
If I can (Cb)make it there I’d make it (Gb)an y (Ebaug7)where, (Eb7)come (Db7)on, (Eb7)come (Abm7)through (Bbm7)New (Abm7)York, (Cb)New (Gb)York.
This page shows “New York, New York” by Frank Sinatra 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 Bb at 120 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement will really stretch your chord vocabulary — with 28 distinct chords in the key of B♭, your left hand needs to navigate jazz-flavored movements like Bbmaj7 to Gm7 to Cm7 to F7 quickly and cleanly, so start hands-separate at around 80 BPM until those shapes feel automatic under your fingers. The octave bass pattern gives the left hand a bouncy, confident stride, but watch the jumps into less familiar territory like Dbm7 and Cbm6 — those chromatic passing chords sneak up on you mid-phrase and are where most stumbles happen. Loop any four-bar section containing those transitions until you can land them without looking down. Your right hand gets to swing at 120 BPM, so keep your wrist loose and lean into the syncopation rather than fighting it. Pedal lightly — just enough to connect the octave bass without muddying those rich extended chords. This is the piece that'll make you genuinely comfortable with seventh chords in every color, and that skill carries into everything you play next.