Was all the sum mer hold and all the fall, Can’t just try’n’ to (C7)find my lit as tle can Le a (G5)nore.
But now she’s gone
and I don’t (D5)wor ry.
Lord, I’m (G5)sit tin’ on (D5)top of the (G5)world.
Was in the spring nin’, hold one sum mer day Can’t just when she (C7)left me, she’s as gone can to a (G5)stay.
But now she’s gone
and I don’t (D5)wor ry.
Lord, I’m (G5)sit tin’ on (D5)top of the (G5)world.
And you come (G5)world.
Half the days tion I did n’t know your name.
Why should me I a (C7)wor ry or cry in (G5)vain?
And now she’s gone
and I don’t (D5)wor ry.
Lord, I’m (G5)sit tin’ on (D5)top of the (G5)world.
Went to the sta tion I did down in the yard,
gon’ get me you a (C7)freight train, work done got (G5)hard.
But now she’s gone
and I don’t (D5)wor ry.
Lord, I’m (G5)sit tin’ on (D5)top of the (G5)world.
Those lone some (G5)world.
This page shows “Sitting On Top Of The World” by Doc Watson 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 120 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a great way to get comfortable with a pedal bass pattern in your left hand — you'll anchor on a repeated low note while your right hand moves through just four chords, which keeps things steady and rhythmic. The C to C7 switch is your smoothest move: you're only adding one note, so keep your hand shape relaxed and let that B-flat drop in naturally. The power chords on D and G will feel different from your open C shapes — they're just root and fifth, so lean into that bare, punchy sound rather than searching for a fuller voicing. At 120 BPM the tempo has a nice rolling momentum, but start at around 80 and lock your left-hand pedal tone in solidly before adding the right hand. The most common stumble I see is rushing through the chord changes to Dpow and Gpow because they sit in an unfamiliar position — loop those two bars slowly until the jump feels automatic. Once it clicks, this song will genuinely strengthen your ability to keep a steady bass pulse independent of what your right hand is doing, and that's a skill you'll use in everything you play from here on.