Loading song
Fetching song
(Am9)Change can come on tip toe,
(Gm9)love is where it starts.
(Eb)It re sides, (Gb)of ten hides (Bb)deep with in our hearts.
And (E7#5)just as (Am9)peb bles make a moun tain,
(D)rain drops make a sea.
(B)One day at a time, (E7sus)change be gins with (E7)you and (A)me.
(Gb)Or di nar y mir a cles
like (Dbmaj7)hap pen all a round,
(Bbm)just by (Bbm)giv ing (G)and re (Eb9)ceiv ing (Gb)comes be long ing and be liev ing.
(Am9)Ev ’ry sun that ris es
(Gm9)nev er rose be fore.
(Eb)Each new day (Gb)leads the way (Bb)through a dif f’rent door.
And (E7#5)we can (Am9)all be qui et he roes
(D)liv ing qui et days,
(B)walk ing through the world, (E7sus)chang ing it in (E7)qui et (A)ways.
(Gb)Or di nar y mir a cles
like (Dbmaj7)can dles in the dark,
(Bbm)just by (Bbm)giv ing (G)and re (Eb9)ceiv ing (Gb)comes be long ing and be liev ing.
(Gb)each and ev ’ry one of us lights a (Db)spark.
And the walls can tum ble
and the moun tains can move.
The winds and the tides can (Db)turn!
(G)Or di nar y mir a cles,
(Dmaj7)one for ev ’ry star.
No (Bm)light ning bolt (Bm)or (G#)clap of (Bm9)thun (E9)der, (G)on ly joy and qui et (Gm)won (A7)der, (Gmaj7)end less pos si bil i ties
(D)right be fore our eyes.
(Gmaj7)See the way a mir a cle mul ti (D)plies.
(Ab)Hope can spring e ter nal ly,
(Eb)plant it and it grows.
(Cm)Love is (Cm)all that’s (A)nec es (Cm9)sar (F9)y, (Ab)love in its ex (Fm)tr’or di (G7)nar y (Cm)way
(Cb7)makes (Ebmaj7)or di nar y mir a cles
(Fm7)ev
’ry
bless
ed
(Ab)day!
This page shows “Ordinary Miracles” by Barbra Streisand 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 80 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a beautiful workout for navigating jazz-flavored chord extensions — you'll encounter 9ths, major 7ths, and minor 9ths across a wide spread of key centers, so your hands need to be comfortable reshaping quickly. Your left hand drives a steady oompah bass pattern throughout, which sounds simple but gets challenging when the harmony slides from C-major territory into flat-key regions like Ebmaj7, Dbmaj7, and Fm7. Start hands-separate at around 60 BPM, and give your left hand extra time memorizing those bass-note-to-chord jumps through the chromatic passages. When you put hands together, loop any section where the key center shifts suddenly — that Cm9-to-Bm9 type movement is where most students stumble. Use the sustain pedal to smooth transitions, but lift cleanly on each new chord so the harmonies don't blur. At 80 BPM the pace is forgiving, so prioritize clean voice changes over speed. This is the piece that'll make distant key shifts feel like home.