Loading song
Fetching song
(Em7)All the birds of a feath er
do what we love most of (Fmaj7)all.
(Am)We are the best at (B)rhy thm and laugh ter.
(Am)That’s why we (B)love Car na (Em7)val.
Call so clear we can sing to.
Sun and na ture’s big (Fmaj7)moon.
(Am)Dance to the mu sic, (B)pas sion and love.
(Am)Show us the (B)best you can (E5)do.
(E)Ev ’ry one here is on fire.
Get up and join in the (F#m)fun.
Dance with a (F#m)strang er, (F#m7)ro mance and (F#m6)dan ger.
Ma gic can hap pen for (A)re (B7)al in (Emaj7)Ri (E)o, (F#m)all (B7)by it self.
You (A)can’t (B7)see it (G#m7)com (C#)ing; you (F#m)can’t find it (B7)an y where (E)else.
It’s (A)re (B7)al in (Emaj7)Ri (E)o.
You (F#m)know (B7)some thing else:
you (A)can’t (B7)feel it (G#m7)hap (C#)p’ning; you (F#m)can’t feel it (B7)all by your (E)self.
This page shows “Real In Rio” by Siedah Garrett 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 E at 138 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement will really sharpen your command of extended chords in a sharp key — you're dealing with fifteen distinct chord shapes, and several like Emaj7, F#m7, and G#m7 sit beautifully under the fingers in E major, while others like Fmaj7, C, and Am will pull you outside the key unexpectedly, so flag those transitions now. Your left hand runs an octave bass pattern at 138 BPM, which means clean, confident jumps with no hesitation — practice that hand alone at 90 BPM until it feels automatic. The jazz-standard voicings reward a light, rhythmic touch; resist the urge to over-pedal through the seventh chords or you'll muddy the color changes that make this song sparkle. Loop the bars around B7 to F#m6 — that's where most students stumble because the chromatic movement is subtle. Start hands-separate, bring them together in four-bar chunks, and only push the tempo once transitions feel boring. This is the piece that'll make cycling through major seventh and minor seventh shapes second nature for you.