We had the right love at the wrong time.
It (Dm7)Guess I al ways knew in side
I would n’t have you for a long (C)time.
Those (Fmaj7)dreams of (F6)yours
are shin in’ on (C)dis tant shores,
(Am7)and if they’re (Dm7)call in’ you a way (C)I have no (F)right to make you (F)stay.
But (C)some where down the road
our (F)roads are gon na cross a gain.
It (Dm7)does n’t real ly mat ter when, but (C)some where down the road
I (F)know that heart of (C)yours will (F)come to (Dm7)see
that (Dm7)you (Cmaj7)be (Dm7)long
to me.
Some times good byes are not for ev er.
It (Dm7)does n’t mat ter if you’re gone,
I still be lieve in us to geth (C)er.
I (Fmaj7)un der (F6)stand
are more than you (C)think I can.
(Am7)You have to (Dm7)go out on your own (C)so you can (F)find your way back (F)home.
And (C)some where down the road
our (F)roads are gon na cross a gain.
It (Dm7)does n’t real ly mat ter when, but (C)some where down the road
I (F)know that heart of (C)yours will (F)come to (Dm7)see
that (Dm7)you (Cmaj7)be (Dm7)long
to me.
me.
(Ab)Let (Bb)ting (C)go
is (Dm7)just an oth er way to say I’ll (Fm7)al (Bb)ways (Dm7)love you (Dm7)so.
We had the right love at the wrong time.
(Em7)May be we’ve on ly just be gun,
may be the (F)best is yet to come,
’cause (C)some where down the road
our (F)roads are gon na cross a gain.
It (Dm7)does n’t real ly mat ter when, but (C)some where down the road
I (F)know that heart of (C)yours will come to (Dm7)see
that (Dm7)you (Cmaj7)be (Dm7)long
(Dm7)with (C)me.
This page shows “Somewhere Down The Road” by Barry Manilow 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 65 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a beautiful workout for your left hand's Alberti bass pattern — at 65 BPM you have room to breathe, but you need that broken-chord motion to stay perfectly even and unhurried, so practice the left hand alone first until it feels automatic. Your right hand mostly handles smooth melodic lines over seventh chords like Cmaj7, Em7, Dm7, and Am7, which sit naturally under the fingers, but watch out when the harmony borrows from outside the key — the shifts into Fm6, Fm7, Ab, and Bb introduce unexpected flats that can trip you up mid-phrase. Isolate those bars and loop them slowly until the new hand shapes feel familiar. Use sustain pedal generously but change it cleanly with each chord; muddy pedaling will wreck the melancholic mood this ballad depends on. Once those borrowed chords stop surprising you, you'll have a real foundation for hearing and playing chromatic harmony in pop ballads — that skill transfers to dozens of songs.