Te (C#m)tra ño,
co mo se tra ñan les las no ches sin es (G#)tre llas,
co mo se tra ñan las ma ña con ci nas (Bm7)be llas.
No (E7)tar con ti go, por dios co que (A)me mo ce da ño.
Te (D#)tra ño,
cuan do ca (G#7)mi no, cuan do llo ro, cuan do (C#m)ri o;
cuan do sol (C#m)bri lla, cuan do ce mu cho frí o,
por que te (D#)sien to co (D#7)mo go muy (G#7)mi o.
Te (C#m)tra ño,
co mo los ár bo les ex tra ñan el o (G#)to ño,
en e sas no ches las que no con ci lio (Bm7)sue ño.
No (E7)te ma gi nas a mor, co que (A)me mo te tra ño.
Te (D#)tra ño,
en ca da (G#7)pa so cuan que sien to so li (C#m)ta rio.
Ca da mo (C#m)men to que toy vi vien do dia o,
por que te (D#)sien to co (D#7)mo go muy (G#7)mi o.
Te rio,
es toy mu (D#)rien do (G#7)mor
por que te (E7)tra ño.
Te tra ño, cuan do la (D#)ro ra co (G#7)mien za dar co (C#m)lo res.
Con (C#m)tus vir tu des, con to dos tus e (A#)rro res,
por lo que (D#)quie ras no (G#)sé,
pe ro te tra ño.
Te (Dm)tra ño,
co mo los ár bo les ex tra ñan el o (A)to ño,
en e sas no ches que no con ci lio (Cm7)sue ño.
No (F7)te ma gi nas a mor.
co mo te tra ño.
Te (E)tra ño,
en ca da (A7)pa so que sien to so li (Dm)ta rio.
Ca da mo (Dm)men to que toy vi vien do (B)dia rio,
es toy mu (E)rien do (A7)mor
por que te (Cm7)tra ño.
Te tra ño, cuan do la (E)ro ra co (A7)mien za dar co (Dm)lo res.
Con (Dm)tus vir tu des, con to dos tus e (B)rro res,
por lo que (E)quie ras no (A)sé,
pe ro te (Dm)tra ño.
Te tra ño,
te (A7)tra
(Dm)ño.
This page shows “Pero Te Extraño” by Andrea Bocelli 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 88 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a fantastic workout for your jazz-flavored chord vocabulary — you'll move through twenty-one different voicings including maj7s, maj9s, and dominant 7ths, which means your left hand needs to stay relaxed and shift shapes efficiently. At 88 BPM, you have breathing room, so use it: focus on smooth voice leading between chords like Amaj9 to Bbmaj9, keeping common tones held while only moving the fingers that need to move. The key of C# puts you on a lot of black keys, which actually helps your hand find a natural curved position — lean into that. I'd suggest drilling the chord progression hands-separate first, looping any four-bar section where you feel a hitch, especially around the D#7 to G#7 transitions. Use the sustain pedal to connect the melancholic mood, but change it cleanly with each new harmony. This is the piece that'll make extended jazz chords feel like home under your fingers.