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All the sin gle la dies, all the sin gle la dies.
All the sin gle la dies, all the sin gle la dies.
All the sin gle la dies, all the sin gle la dies.
All the sin gle la dies, now put your hands up.
Up in the club, we just broke my up.
hold I’m do in’ my my own re lit tle thing.
You de cid ed to dip and now you wan na trip ’cause an oth er broth er no ticed you me.
I’m up on per him, sion.
he up I on me.
Don’t pay him an y at ten tion.
Just cried my your tears for three you good years, what you can’t ly be mad to at me.
’Cause if you like it then you should have put a ring on (E5)it.
If you like it then you should have put a ring on it.
Don’t be mad once you see that he want it.
If you like it then you should have put a ring on it.
Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh.
Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh.
If you like it (B5)then you (C)should have put a ring on it.
If you like it (B5)then you (A5)should have put a ring on it.
Don’t be mad (B5)once you (C)see that he want it.
If you like it (B5)then you (A5)should have put a ring on (E5)it.
I got gloss for my lips, a man on my hips, hold me tight er than my De re on tle jeans.
You de Act in’ to up, and drink you in my cup, ’cause an I can care er less what you think.
I need no per mis sion.
he Did I men tion?
Don’t pay him an y at ten tion.
’Cause you had your turn and now you gon’ learn what it can’t ly be mad to at me.
’Cause if you like it then you should have put a ring on (E5)it.
If you like it then you should have put a ring on it.
Don’t be mad once you see that he want it.
If you like it then you should have put a ring on it.
Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh.
Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh.
If you like it (B5)then you (C)should have put a ring on it.
If you like it (B5)then you (A5)should have put a ring on it.
Don’t be mad (B5)once you (C)see that he want it.
If you like it (B5)then you (A5)should have put a ring on (E5)it.
I got like it (B5)then you (A5)should have put a ring on (E5)it.
Oh, oh, (CN.C.)oh oh, oh, oh, oh, oh, oh, oh, oh, oh.
Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh.
(A5)Don’t
treat me to these things of the world.
I’m not that kind of girl.
Your love is what I pre fer, what I de serve.
Here’s a man that makes me then takes me and de liv ers me to a des ti ny, to in fin i ty and be yond.
Pull me in to your arms, say I’m the one you want.
If you don’t, you’ll be a lone and like a ghost I’ll be gone.
All the (CN.C.)sin gle la dies, all the sin gle la dies.
All the sin gle la dies, all the sin gle la dies.
All the sin gle la dies, all the sin gle la dies.
All the sin gle la dies, now put your hands up.
Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh.
Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh.
Oh, ’Cause if you (C)oh.
it then you should have put a ring on it.
If you like it (B5)then you (A5)should have put a ring on it.
Don’t be mad (B5)once you (C)see that he want it.
If you (E5)like it then you should have put a ring on it.
Oh, ’Cause oh, you (C)like it then you should have put a ring on it.
If you like it (B5)then you (A5)should have put a ring on it.
Don’t be mad (B5)once you (C)see that he want it.
If you (E5)like it then you should have put a ring on it.
Oh, ’Cause if you (E5)like it then you should have put a ring on it.
Oh, oh, oh.
This page shows “Single Ladies” by Beyonce 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 95 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great workout for locking your left hand into a steady pedal bass while your right hand punches out power chords on the beat — and that independence between hands is really the core skill here. At 95 BPM the tempo is moderate, but the energy comes from crisp, rhythmic chord hits, so focus on playing each power chord shape (E, A, B, C) cleanly and lifting between strikes rather than letting notes blur together. Watch out for the C augmented chord — it's the oddball in this set and will catch your fingers off guard if you don't isolate that transition a few times. I'd suggest learning the right-hand chord pattern alone first at around 70 BPM, getting the C-to-C-augmented switch smooth, then adding the left-hand pedal bass once the shapes feel automatic. Most students rush the syncopated rhythms mid-phrase, so count out loud if you need to. This is the kind of song that genuinely builds your confidence with power-chord voicings and hands-together independence — skills you'll use in almost every pop arrangement going forward.