(A5)One way or an oth er, I’m gon na find ya.
I’m gon na get ya, get ya, get ya, get ya.
(F#5)One o’ way hip or an oth er, I’m gon na win ya.
I’m gon na get ya, get ya, get ya, get ya.
(A5)One way or an oth er, I’m gon na see ya.
I wan na meet ya, meet ya, meet ya, meet ya.
(F#5)One day, may be next week, I’m gon na meet ya.
I’m gon na meet ya.
I’ll meet ya.
(D5)I
(F#5)will the (E5)drive past your (C#5)house.
(D5)And
(F#5)if the (E5)lights are all (C#5)down, I’ll (D5)see (E5)who’s (F#5)a (B5)round.
(A5)One way or an oth er, I’m gon na find ya.
I’m gon na get ya, get ya, get ya, get ya.
(F#5)One o’ way hip or an oth er, I’m gon na win ya.
I’m gon I’ll get ya.
get I’ll get ya.
get ya.
(A5)One way or an oth er, I’m gon na see ya.
How ’bout I meet ya, meet ya, meet ya, meet ya.
(F#5)One day, may be next week, I’m gon na meet ya, I’m gon I’ll meet ya.
Ah.
meet ya.
(D5)And
(F#5)if the (E5)lights are all (C#5)out,
(D5)I’ll
(F#5)fol low (E5)your bus down (C#5)town; see (D5)who’s (E5)hang (F#5)ing (B5)out.
give you the slip.
(A)I’ll walk down the mall, stand o ver by the wall (F#)where I can see it all, find out who you call.
(A)Lead you to the su per mar ket, check out some (F#)spe cials and rap; it we’d get lost in the crowd.
(A)One way or an oth er, I’m gon na (F#)get ya.
I’ll get ya.
I’ll get ya, get ya, get ya, get ya.
(A)One way or an oth er, I’m gon na (F#)get ya.
I’ll get ya.
I’ll get ya, get ya, get ya, get ya.
This page shows “One Way Or Another” by Blondie 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 168 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a fantastic workout for left-hand independence — you've got a walking bass line at 168 BPM, which means your left hand needs to stay steady and almost autopilot-confident while your right hand handles the chord hits. Most of your chords here are power shapes (root-fifth voicings like Apow, F#pow, Bpow), so the fingering is consistent, but the quick jumps between G#pow and Apow or C#pow and Dpow will catch you off guard if you haven't drilled them slowly first. Start your left hand alone at around 100 BPM and build up in increments of ten — the walking pattern needs to feel effortless before you layer the right hand on top. Watch the transition from F# major to the power chords especially; the fuller shape shifting to a leaner voicing trips people up rhythmically. Once this clicks, you'll have real confidence driving a fast rock groove with a steady, independent bass line underneath — that's a skill that transfers to dozens of songs.