So close, no mat ter (D)how far.
Could n’t be much more (D)from the heart.
For ev er trust ing (D)who we are.
And (B7sus4)noth ing else (Em)mat ters.
Nev er o pened my (D)self this way.
Life is ours, we live it (D)our way.
All these words I don’t (D)just say.
And (B7sus4)noth ing else (Em)mat ters.
Trust I seek and I (D)find in you.
Ev ’ry day for us (D)some thing new.
O pen mind for a (D)dif f’rent view.
And (B7sus4)noth ing else (Em)mat ters.
Nev er cared for what they (C)do.
Nev er cared for what they (C)know.
But I (Em)know.
So close, no mat ter (D)how far.
Could n’t be much more (D)from the heart.
For ev er trust ing (D)who we are.
And (B7sus4)noth ing else (Em)mat ters.
Nev er cared for what they (C)do.
Nev er cared for what they (C)know.
But I (Em)know.
Nev er cared for what they (C)say.
Nev er cared for games they (C)play.
Nev er cared for what they (Em)do.
Nev er cared for what they (C)know.
And I (Em)know.
So close, no mat ter (D)how far.
Could n’t be much more (D)from the heart.
For ev er trust ing (D)who we are.
No, (B7sus4)noth ing else (Em)mat ters.
This page shows “Nothing Else Matters” by Metallica 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 81 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a great way to develop your sense of pacing and dynamics in a slow ballad setting — at 81 BPM you have room to breathe, but that also means every hesitation between chords will be audible, so smooth transitions matter more than speed. Your left hand holds a pedal bass pattern, which means you'll often anchor on one low note while your right hand moves through the chord changes above — focus on keeping that left hand steady and relaxed, almost on autopilot. The trickiest moments will be shifting between Em, C, and D in sequence and landing cleanly on B7, since that shape can feel awkward if you're newer to it — isolate those two-bar transitions and loop them slowly until the fingering feels automatic. I'd suggest learning hands separately first, getting comfortable with the right-hand chord rhythm before layering the bass underneath. Watch your timing through the Am and G changes especially; students tend to rush those. Once it clicks, this song will genuinely solidify your confidence moving between minor and major chords in a real musical context — that skill transfers to dozens of other ballads.