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Are (CN.C.)you, are you
com ing to the tree?
They strung up a man they say who mur dered three.
Strange things did hap pen here, no strang er would it be if we (A5)met at mid night in the hang ing tree.
Are you, are you com ing to the tree?
Where dead man called out (Am)for his love to flee.
Strange things did (Asus)hap pen here, no strang er would it be if we (F)met at mid night in the hang ing tree.
Are you, are you com ing to the tree?
Where I told you to run so we’d both be free.
(A5)Strange things did (F)hap pen here, no (A5)strang er would it (Asus)be if we (Am)met at (Asus2)mid night (A5)in the hang ing tree.
Are (A7)you, are (Asus)you (Am)com ing to the (E5)tree?
Wear a (Am)neck lace of (D5)hope
(G5)side by side with (A5)me.
(A7)Strange things did (F)hap pen here, no (A5)strang er would it (D)be if we (A5)met at (D5)mid night (E5)in the hang ing (A5)tree.
Are you, are (D5)you
(A5)com ing to the (E)tree?
Where I (Am)told you to (Dm)run so (G)we’d both be (Am)free.
Strange things did (F)hap pen here, no (Am)strang er would it (D)be if we (Am)met at (Dm)mid night (E5)in the hang ing (A5)tree.
Are (Am)you, are (Dm)you
(Am)com ing to the (E)tree?
Where they (Am)strung up a (Dm)man they (G)say who mur dered (Am)three.
Strange things did (F)hap pen here, no (Am)strang er would it (D)be if we (Am)met at (Dm)mid night (E5)in the hang ing (Am)tree.
Are you, are (Dm)you
(Am)com ing to the (E)tree?
(Am)Dead man (Dm)called out (G)for his love to (Am)flee.
Strange things did (F)hap pen here, no (Am)strang er would it (D)be if we (Am)met at (Dm)mid night (E5)in the hang ing (Am)tree.
Ah.
(Am)Ah.
(Am)Ah.
(G)Ah.
Ah.
(Am)Ah.
Ah.
(Am)Ah.
Ah.
(Am)Ah.
Ah.
(G)Ah.
This page shows “The Hanging Tree” by James Newton Howard 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 comfortable easy-level arrangement perfect for first-time learners.
This arrangement sits in C but leans heavily on minor and suspended chords—Am, Dm, Asus2, Asus4, Esus4—so your right hand needs to get comfortable shifting between natural and suspended shapes without hesitating. At 100 BPM the tempo is moderate, but the dramatic mood depends on you keeping steady time, so start hands-separate and slower (around 70 BPM) until the chord changes feel automatic. Your left hand follows a pedal bass pattern, which means you'll often hold or repeat a single low note while your right hand moves through several chords above it; the challenge is resisting the urge to lift your left hand every time your right hand shifts. Watch the transitions into A7 and E7 especially—those dominant-seventh voicings pop up briefly and can trip you up if you haven't isolated them a few times. Loop the sections where power chords (Apow, Dpow, Gpow) build intensity, because nailing that dynamic lift is what makes the piece feel cinematic. This is a fantastic song for training your ear to hear how suspended chords resolve, a skill that will serve you in dozens of pieces ahead.