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(Fmaj7)Lis ten,
see ing you got rit u al is tic.
Cleans ing my soul of ad dic tion for now ’cause I’m fall ing a part.
Yeah.
(Fmaj7)Ten sion
be tween us just like pick et fenc es.
You got is sues that I won’t men tion for now ’cause we’re fall ing a part.
(Fmaj7)Pas sion ate from miles a way,
pas sive with the (Dm9)things you say.
Pass ing up on my old ways, (Em7)I can’t blame you now,
no.
(Fmaj7)Pas sion ate from miles a way,
pas sive with the (Dm9)things you say.
Pass ing up on my old ways, (Em7)I can’t blame you now,
no.
(Fmaj7)Lis ten,
hard er build ing trust from a dis tance.
I think we should out com mit ment for now ’cause we’re fall ing a part.
Yeah.
(Fmaj7)Leav ing,
you’re just do ing that to get e ven.
Don’t pick up the piec es, just leave it for now, they keep fall ing a part.
(Fmaj7)Pas sion ate from miles a way,
pas sive with the (Dm9)things you say.
Pass ing up on my old ways, (Em7)I can’t blame you now,
no.
(Fmaj7)Pas sion ate from miles a way,
pas sive with the (Dm9)things you say.
Pass ing up on my old ways, (Em7)I can’t blame you now,
no.
This page shows “Passionfruit” by Drake 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 112 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great way to level up your seventh-chord vocabulary — you're cycling through Am7, Dm7, Dm9, Em7, and Fmaj7, so your fingers need to get comfortable holding those extended shapes without tension. Your left hand follows an oompah bass pattern, meaning you'll alternate between a low root note and a mid-range chord hit on the off-beat; keep that steady and light, almost like a heartbeat, because at 112 BPM it can easily turn muddy if you're heavy-handed. I'd suggest learning the left-hand pattern alone first until it feels automatic, then layer in the right-hand melody. Watch the transition from Dm9 to Em — that's where most students stumble because the hand has to shift quickly and the voicings sit in different positions. Loop just that two-chord move at half tempo until it's smooth. Use a touch of sustain pedal, releasing cleanly on each chord change so the sevenths don't blur together. Once this clicks, you'll have real confidence with minor seventh shapes and syncopated bass lines that show up everywhere in modern pop and R&B playing.