“Hel (A)lo,
how (Amaj7)are you?
Have you (A7)been al right
through all those lone ly, lone ly, lone (A#dim7)ly, lone ly, lone ly (Bm)nights?” That’s what I’d (E)say,
I’d tell you (C#m)ev ’ry thing
if you’d pick up that tel e (Amaj7)phone,
yeah, (Dmaj7)yeah, yeah.
(A)Hey,
how you (Amaj7)feel in’?
Are you (A7)still the same?
Don’t you re al ize the things we did, we (A#dim7)did were all for (Bm)real, not a (E)dream?
I just (C#m)can’t be lieve
they’ve all (E)fad ed out of (Amaj7)view,
yeah, yeah, (Dmaj7)yeah, yeah,
ooh.
Doo da wop, (F#m)doo bee doo da wop, doo wah doo (E)lang.
Blue days, black nights, doo wah doo (E)lang.
I look in (F#m)to the sky, the love you need ain’t gon na (E)see you through,
and I (F#m)won der why the lit tle things you planned ain’t (E)com in’ true.
(A)Oh, oh, tel e (A)phone line,
give me (F#m)some time,
I’m liv ing in twi
(Fdim)light.
(A)Oh, oh, tel e (A)phone line,
give me (F#m)some time,
I’m liv ing in twi
(Fdim)light.
O.
K.,
so no one’s (Amaj7)an swer ing,
well, can’t you (A7)just let it ring a lit tle long er, long er, long er?
(A#dim7)Oh,
I’ll just sit (E)tight,
through shad ows of the night,
let it (E)ring for ev er (Amaj7)more,
oh hoh (Dmaj7)hoh hoh.
(Dmaj7)hoh hoh.
This page shows “Telephone Line” by Electric Light Orchestra 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 A at 80 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a fantastic workout for navigating a wide chord palette — you'll move through twelve different chords including two diminished shapes, A#dim7 and Fdim, which will likely feel unfamiliar under your fingers at first. Start by isolating just those diminished voicings and drilling the transitions into and out of them slowly, because they're the moments where most students hesitate and lose the pulse. Your left hand plays a block bass pattern, so keep it steady and grounded while your right hand handles the melodic line above. At 80 BPM you have breathing room, but don't let that fool you — the real challenge is smooth voice-leading between chords like Amaj7 to A#dim7 to Bm, where small finger shifts make or break the flow. Practice hands separately first, then combine at half tempo before building up. This is the piece that'll make diminished chords feel like old friends instead of strangers.