When I was (C)just a (Cmaj7)lit tle (C6)girl
(C)I asked my moth er, (C#dim7)“What will I (Dm7)be?
Will I be pret ty?
Will I be rich?”
(Dm7)Here’s what she (G7)said to (C)me:
“Que se (F)ra, se ra,
What ev er will (C)be will be.
The fu ture’s not (G7)ours to see.
Que se ra, se (C)ra!
(Dm7)What (G7)will (Dm7)be (G7)will (C)be!”
(CN.C.)When I was (C)just a (Cmaj7)child in (C6)school,
(C)I asked my teach er, (C#dim7)“What should I (Dm7)try?
Should I paint pic tures?
Should I sing songs?”
(Dm7)This was her (G7)wise re (C)ply:
“Que se (F)ra, se ra,
What ev er will (C)be will be.
The fu ture’s not (G7)ours to see.
Que se ra, se (C)ra!
(Dm7)What (G7)will (Dm7)be (G7)will (C)be!”
(CN.C.)When I was
(CN.C.)When I grew (C)up and (Cmaj7)fell in (C6)love,
(C)I asked my lov er, (C#dim7)“What lies a (Dm7)head?
Will we have rain bows day af ter day?”
(Dm7)Here’s what my (G7)lov er (C)said:
“Que se “Que se (F)ra, se ra,
What ev er will (C)be will be.
The fu ture’s not (G7)ours to see.
Que se ra, se (C)ra!
(Dm7)What (G7)will (Dm7)be (G7)will (C)be!”
(Dm)Que se ra, (G7)se (C)ra!
This page shows “Que Sera, Sera” by Doris Day 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 125 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great way to get comfortable with jazzy color chords in your left hand — you'll move between standard triads like C and F and richer voicings like Cmaj7, C6, and C#dim7, which means your fingers need to know those shapes cold before you try to add the melody. Start hands-separate: drill the left-hand block chords at around 80 BPM until every transition feels automatic, especially the chromatic slide from C into C#dim7 and back — that's the spot most students fumble because the diminished shape sits a half-step away and your hand wants to overshoot. Once your left hand is steady, layer in the right-hand melody; it flows naturally in a waltz-like three feel, so count carefully and resist rushing at 125 BPM. Watch the Dm7-to-G7 turnaround — land G7 cleanly and you'll set up each return to C with real momentum. A light touch on the sustain pedal, changing with each new chord, keeps the peaceful mood without muddying those close voicings. This is the piece that'll make chromatic passing chords feel like second nature in your playing.