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I sit a lone,
a dark the a ter, watch ing the peo (Am)ple go by, hand in hand.
Ev ’ry bod y but me,
oh.
I stay be hind
watch ing the cred its roll by, (Am)roll, roll, roll right (Fmaj7)by me.
But I know I won’t cry ’cause there is some bod y, some bod y, (C)some bod y wait ing for me out in the rain.
Won’t (F)cry,
not to night, ’cause there is some bod y wait ing for me.
I take a walk;
the streets are bus y to night and I am (Am)search ing for you, wait ing to brush your shoul der.
But I’m a lone,
I watch the fac es roll by, (Am)roll, roll, roll right (F)by me.
But I know I won’t cry ’cause there is some bod y, some bod y, (C)some bod y wait ing for me out in the rain.
I won’t (F)cry,
not to night, ’cause there is some bod y wait ing for me.
How man y words will go un (F)spo ken,
oh,
till I hear knock in’ up on (G)my door?
Los in’ track of the nights I spend (G)heart bro ken.
(G)Oh, but to (F)night I know
I won’t (G)cry no more.
I lie a wake.
I left the porch light on;
I hope it helps you to find your way.
Out side
I hear the thun der roll by, (Am)roll, roll, roll right (F)by me.
But I know I won’t cry ’cause there is some bod y, some bod y, (C)some bod y wait ing for me out in the rain, not gon na cry to night,
woh,
’cause there is some bod y wait ing for me.
Not gon na cry to night, no, no, no, no, no, no, (C)no.
Oh, yeah, oh, oh, not gon na cry,
not to night, ’cause there is some bod y wait ing for me.
I stay be hind
watch ing the cred its roll by, (Am)roll, roll, (Am)roll right (Fmaj7)by me.
This page shows “Somebody” by Bonnie McKee 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 way to develop your left-hand independence thanks to that oompah bass pattern — your left hand will alternate between a low root note and a higher chord tone on each beat, which at 100 BPM feels steady but demands consistent timing, so start hands-separate until that rocking motion feels automatic. Your right hand carries the melody over seven chords, and the sneaky ones to watch are the Gm and Fmaj7: that Gm borrows a B-flat you won't expect in the key of C, so isolate any passage where it appears and loop it slowly until the flat feels natural under your fingers. The Fmaj7 is lovely but easy to fumble if you're jumping from G7 — practice that specific transition in a four-beat loop. Once both hands are comfortable, bring them together at around 70 BPM and nudge the tempo up gradually. Use a little sustain pedal on the longer phrases to match the ballad's sad, lingering mood, lifting cleanly on each chord change so nothing smudges. This is the piece that'll make borrowed chords like Gm feel like a familiar friend rather than a surprise.