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As he came in to the (G)win dow, it was the (C)sound of a cre (G)scen do.
He came in to her a (G)part ment, he left the (C)blood stains on the (G)car pet.
She ran un der neath the (G)ta ble, he could (C)see she was un (G)a ble.
So she ran in to the (G)bed room, she was (C)struck down.
It was (G)her doom.
An nie, are you O K?
So, An nie, are you O K?
Are you (G)O K, An nie?
An nie, are you O K?
So, An nie, are you O K?
Are you (G)O K, An nie?
An nie, are you O K?
So, An nie, are you O K?
Are you (G)O K, An nie?
An nie, are you O K?
So, An nie, are you (E7sus)O K?
Are you (E)O K, An (Am)nie?
An nie, are you (G)O K?
Will you (F)tell us that you’re (G)O K?
There’s a sign in the (G)win dow that he (F)struck you, a cre (E)scen do, An (Am)nie.
He came in to your a (G)part ment.
He left the (F)blood stains on the (G)car pet.
Then you ran in to the (G)bed room, you were (F)struck down.
It was (E)your doom.
An nie, are you O K?
So, An nie, are you O K?
Are you (G)O K, An nie?
An nie, are you O K?
So, An nie, are you O K?
Are you (G)O K, An nie?
An nie, are you O K?
So, An nie, are you O K?
Are you (G)O K, An nie?
(E)You’ve been hit by, you’ve been hit by a smooth crim i (Am)nal.
So they came in to the (G)out way, it was (C)Sun day, what a (G)black day.
Mouth to mouth re sus ci (G)ta tion, sound ing (C)heart beats, in tim i (G)da tions.
An nie, are you O K?
So, An nie, are you O K?
Are you (G)O K, An nie?
An nie, are you O K?
So, An nie, are you O K?
Are you (G)O K, An nie?
An nie, are you O K?
So, An nie, are you O K?
Are you (G)O K, An nie?
An nie, are you O K?
So, An nie, are you (E7sus)O K?
Are you (E)O K, An (Am)nie?
An nie, are you (G)O K?
Will you (F)tell us that you’re (G)O K?
There’s a sign in the (G)win dow that he (F)struck you, a cre (E)scen do, An (Am)nie.
He came in to your a (G)part ment, left the (F)blood stains on the (G)car pet.
Then you ran in to the (G)bed room, you were (F)struck down.
It was (E)your doom.
An nie, are you O K?
So, An nie, are you O K?
Are you (G)O K, An nie?
(E)You’ve been hit by, you’ve been struck by a smooth crim i (Am)nal.
An nie, are you (G)O K?
Will you (F)tell us that you’re (G)O K?
There’s a sign in the (G)win dow that he (F)struck you, a cre (E)scen do, An (Am)nie.
He came in to your a (G)part ment, left (F)blood stains on the (G)car pet.
Then you ran in to the (G)bed room, you were (F)struck down.
It was (E)your doom, An (Am)nie.
An nie, are you (G)O K?
Will you (F)tell us that you’re (G)O K?
There’s a sign in the (G)win dow that he (F)struck you, a cre (E)scen do, An (Am)nie.
He came in to your a (G)part ment, left (F)blood stains on the (G)car pet.
Then you ran in to the (G)bed room, you were (F)struck down.
It was (E)your doom, An (Am)nie.
This page shows “Smooth Criminal” by Michael Jackson 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 100 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great workout for coordinating a walking bass line in your left hand against steady right-hand chords — that bass pattern is what gives the whole piece its prowling, dramatic energy, so spend your first few practice sessions on the left hand alone at around 70 BPM until the walking motion feels automatic. At 100 BPM the tempo is moderate, but the trickiest moment is the shift to E and E7 — those chords break the otherwise comfortable Am–F–G–C neighborhood, and your fingers will want to hesitate. Drill the two bars around each E chord on a loop until the transition feels as natural as the rest. Once both hands are steady separately, combine them but drop the tempo back down; the groove locks in only when neither hand is "thinking." Nail this one and you'll have real confidence with walking bass patterns in any pop or rock song you tackle next.