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In Some times you look the same,
Thought just like you did be fore the ac ci dent.
fic.
(D)U su al ly I don’t pan ic.
I When you’re (G)star ing in to space
it’s hard to be lieve you don’t re mem ber it.
der Woke (D)did up e in think the am bu lance; you pieced (E)pieced it all to geth er on the drive.
And I know you don’t re mem ber call ing (C)me,
but I told you e ven then, you looked so (C)pret ty.
In a hos pi tal bed,
I re mem ber you said
you were scared;
and so was I.
What if it hap pened to you on a dif fer ent day?
On a bridge where there was n’t a rail in the way?
Or a neigh bor hood street where the lit tle kids play?
Or the An gel es Crest in the snow or the rain?
What if you weren’t a lone, there were kids in the car?
What if you were re mote, no one knows where you are?
If you changed an y thing would you not have sur vived?
You’re a live, you’re a live, you’re a live.
And I (G)know you don’t re mem ber call ing (C)me,
but I (G)told you e ven then, you looked so (C)pret ty.
In your hos pi tal bed,
I re mem ber you said
you were (A)scared;
and so am I.
This page shows “The 30th” by Billie Eilish 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 G at 144 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement sits in G major with a deceptively brisk 144 BPM, so your first move should be to slow it way down — try 90 BPM — and work hands separately until the chord shapes feel automatic under your left hand. You'll be moving through open-position chords that sit naturally in G, but the tempo means your transitions need to be clean and anticipated; start shifting your left hand a beat early in your mind so you're never lunging for the next chord. Your right hand carries a vocal melody with some syncopated rhythms that pull against the beat — tap the rhythm on a flat surface before adding pitch so your timing is internalized, not guessed at. Watch for spots where the melody sustains while your left hand changes underneath; that's where things tend to fall apart, so loop those bars specifically. Use the sustain pedal to connect chords but change it with each new harmony to avoid muddiness — listen for clean lifts. Once both hands are comfortable alone, combine them in short four-bar phrases before stringing sections together. This is a fantastic piece for building your ability to keep steady time while playing an expressive, floating melody on top — a skill that transfers to almost every pop song you'll learn next.