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All the lights in Mi a mi be (A)gin to gleam,
ru by, (G)blue and green,
ne on (F#)too.
(Bm)Ev ’ry thing looks bet ter from a (A)sum bove, mer my rain king
like like a a (G)boss, qua he ma rine, sang
jazz o and ceans (A)blues.
blue.
Ah,
ah,
cac cia (A)tor e.
La da da da (F#7)da, la da da da da, li mou (Bm)sines.
Ah,
ah,
ciao a (A)mor e.
La da da da (F#7)da, la da da da da, soft ice (Bm)cream.
All the lights are spark l ing for (A)you, it seems
on the (G)down town scenes,
shad y (F#)blue.
(Bm)Beat box ing and rap ping in the (A)sum bove, mer my rain king
like like a a (G)boss, qua he ma rine, sang
jazz o and ceans (A)blues.
blue.
Ah,
ah,
cac cia (A)tor e.
La da da da (F#7)da, la da da da da, li mou (Bm)sines.
Ah,
ah,
ciao a (A)mor e.
La da da da (F#7)da, la da da da da, soft ice (Bm)cream.
(Bm)cream.
The sum mer’s wild and I’ve been wait ing (A)for you (G)all this time, I a dore you.
(F#)Can’t you see, you’re (E)meant for me?
The (F#)sum mer’s (Bm)hot but I’ve been cold with (A)out you, (G)I was so wrong not to tell, (F#)Me del lín, (E)tan ge rine dreams.
Catch me if you can, work ing on my tan, Sal va (A)tor e.
Dy ing by the (F#7)hand of a fo reign man hap pi (Bm)ly.
Call ing out my name in the sum mer rain, ciao a (A)mor e.
Sal va tore can (F#7)wait, now it’s time to eat soft ice (Bm)cream.
Ah, (A)mor e.
Ah,
ah,
soft ice (Bm)cream.
This page shows “Salvatore” by Lana Del Rey 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 D at 60 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a wonderful way to develop your pedal bass technique — your left hand will hold or repeat a steady bass note while the harmony shifts above it, which is what gives the song its dreamy, floating quality. At 60 BPM you have plenty of time to think, so use that space to focus on smooth chord transitions in your right hand, especially moving into the C and E chords, which sit outside the key of D and can catch your fingers off guard if you're not ready. The F# to F#7 shift is just one added note, so keep your hand shape stable and simply lower that finger. I'd suggest practicing hands separately at first, then looping the sections where those borrowed chords appear until the shapes feel automatic. Once you're comfortable, add sustain pedal sparingly — change it with each new chord to keep things clear. This is the piece that'll make pedal bass feel like second nature.