Pret ty (A)wom an walk ing (F#m)down the street, Pret ty (A)wom an the kind I (F#m)like to meet, Pret ty (D)wom an
I don’t be (E7)lieve you, you’re not the truth No Are you look as good as you.
Mer cy.
Pret ty (A)wom an won’t you (F#m)par don me, Pret ty (A)wom an I could n’t (F#m)help but see, Pret ty (D)wom an
that you look (E7)love ly you’re as can be No Are you lone ly just like me?
Mer cy.
Pret ty
Pret ty wom an (G7)stop a while,
Pret ty wom an (Am)talk a while,
Pret ty wom an (G7)give your smile to (C)me.
Pret ty wom an (G7)yeah, yeah, yeah,
Pret ty wom an (Am)look my way,
Pret ty wom an (G7)say you’ll stay with (C)me.
’Cause I need you
I’ll treat you (E7)right.
Come with me (F#m)ba by.
Be mine to (E7)night.
Pret ty (A)wom an don’t (F#m)walk on by, Pret ty (A)wom an don’t (F#m)make me cry, Pret ty (D)wom an
don’t (E7)walk a way.
Hey,
O.
K.
If that’s the way it must be O.
K.
I guess I’ll go on home, it’s late
There’ll be to mor row night but wait!
What do I see?
Is she (E7)walk ing back to me?
Yeah,
she’s walk ing back to me!
Oh,
Pret ty (A)wom an.
This page shows “Oh, Pretty Woman” by Roy Orbison 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 130 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great workout for coordinating an Alberti bass pattern in your left hand against a rhythmic, punchy melody — at 130 BPM, that broken-chord pattern needs to feel automatic, so start hands-separate at around 90 BPM until your left hand can run on autopilot. The nine-chord vocabulary here is wider than most pop-rock tunes; pay special attention to the shift from A major into Dm and G7, then C and Am — that's a key change that sneaks up on you, and your fingers need to know exactly where they're going before tempo pushes you forward. Loop that bridge section until the chromatic movement between F#m, Dm, and E7 feels smooth rather than scrambled. The trickiest stumbling point is usually the A7-to-D transition, where students rush because the rhythm is syncopated — count it out loud, seriously. Once this clicks, you'll have real confidence moving between major, minor, and dominant seventh shapes on the fly, which pays off in almost every rock and pop song you'll touch next.