I’ve been (F)burn in’ bright
for so I (F)long I can’t re mem ber.
But with an emp Pret ty girls and the and late night bars seem to (C)be my line of work.
Be lieve me when I back say yes ter day, I can’t (Bb)stay this high for (F)ev er.
This man’s had all (F)he can stand.
Time to (C)lay this bod y down.
Sweet An nie,
can I (Bb)stay with you a (F)while?
’Cause this road’s been put tin’ (F)miles on my heart.
Sweet heart, I’ve been liv in’ in a (F)fan ta sy,
but one day light nin’ will (F)strike and my bark will lose its (F)bite.
But don’t give up on me,
(Bb)sweet
An (F)nie.
Sweet (F)An in’ nie,
I know I (F)prom ised you a life.
ber.
But with an emp ty bed girls and the words late I said don’t to (C)car ry an y weight.
If I could take I back say yes ter day, find a (Bb)way to start it (F)o ver,
turn a round, put (F)that bot tle and I’d (C)pray it’s not too late.
Sweet An nie,
can I (Bb)stay with you a (F)while?
’Cause this road’s been put tin’ (F)miles on my heart.
Sweet heart, I’ve been liv in’ in a (F)fan ta sy,
but one day light nin’ will (F)strike and my bark will lose its (F)bite.
But don’t give up on me,
(Bb)sweet
An (F)nie.
Sweet on me.
What will be, will be,
sweet
(F)An nie.
(Bb)Turn (CN.C.)out the lights.
(Bb)These hands, they long to hold you,
fall all o ver (C)you,
all o ver a gain.
(Bb)Come a lit tle clos er so I can show you my (A7)heart still beats fast for you all (Gm7)o ver and (Bb)o ver a gain.
Sweet on me,
(Bb)sweet
(F)An nie.
This page shows “Sweet Annie” by Zac Brown Band 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 Bb at 70 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great way to build confidence with left-hand octave bass patterns in a flat key — your hand needs to feel at home around Bb and Eb on the keyboard, so spend a minute just landing those octaves cleanly before adding the right hand. At 70 BPM the tempo is forgiving, but that slowness means every hesitation between chords is audible, so pay special attention to the Gm7-to-A7 and F7-to-Bb transitions; those are the spots where most students stumble because the hand shape changes dramatically. Practice those two-chord pairs in a loop, hands together, until they feel automatic. Your right hand will voice a mix of major and minor chords — Dm and Gm give the song its sad, aching quality, so lean into them dynamically rather than playing everything at one volume. Use the sustain pedal lightly, lifting cleanly on each chord change to avoid muddying those seventh chords. This is the piece that will lock in your comfort with secondary dominants like A7 resolving to Dm — a pattern you'll see everywhere once you recognize it here.