(A)Girl, we made it to the top, we (Dm)went so high we could n’t stop, we (A)climbed the lad der (Dm)lead ing us no (A)where.
Two of us to (D)geth er,
build ing (Dm)cas tles
in the (A)air.
We (C)spun so fast we could n’t tell the (Fm)gold ring from the car ou sel; how (C)could we know the (Fm)ride would turn out (C)bad?
Ev ’ry thing we (Am)want ed
let’s was ev ’ry thing we (G7sus)had.
I miss the hun gry (Fmaj7)years,
the once up on a (Fm)time,
the love ly long a (C)go
we did n’t have a (D9)dime:
those days of (Dm7)me and you
we (Fm)lost a long the (Cmaj7)way.
How could I be so (Fmaj7)blind
not to see the (Fm)door
clos ing on the (C)world
I now hun ger (D9)for.
Look ing through my (Dm7)tears,
I (Fm)miss the hun gry (C)years.
We (A)shared our day dreams one by one we (Dm)mak ing plans was so much fun; we (A)set our goals and (Dm)reached the high est (A)star.
Things that we were (D)af ter
we much (Dm)bet ter
from a (A)far
We (C)Here we stand just me and you with (Fm)ev ry thing and noth ing, too; it (C)was n’t worth the (Fm)price we had to (C)pay.
Hon ey, take me (Am)home, ed
let’s go back to yes ter (G7sus)day.
I miss the hun gry (Fmaj7)years,
the once up on a (Fm)time,
the love ly long a (C)go
we did n’t have a (D9)dime:
those days of (Dm7)me and you
we (Fm)lost a long the (Cmaj7)way.
How could I be so (Fmaj7)blind
not to see the (Fm)door
clos ing on the (C)world
I now hun ger (D9)for.
Look ing through my (Dm7)tears,
I (Fm)miss the hun gry (C)years.
We (C)years.
I miss the hun gry (C)years.
This page shows “The Hungry Years” by Neil Sedaka 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 77 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a wonderful workout for navigating extended chords at a relaxed 77 BPM — you'll move through sixteen different chord shapes including Cmaj7, C9, D9, and Bm7, which means your left hand needs to be comfortable shifting between major, minor, and seventh voicings without hesitation. The pedal bass pattern keeps your left hand anchored, so use that stability to focus on clean chord transitions up top. Watch the moves between A major and the borrowed chords like Dm, Fm, and Fmaj7 — those chromatic shifts can catch you off guard if you're not anticipating them. I'd suggest learning hands separately first, then loop any four-bar phrase where the harmony changes color unexpectedly. Slow it down to around 55 BPM until each chord lands without fumbling, then build back up. The most common stumble is rushing through the seventh chords instead of voicing every note clearly. Stay patient with those shapes — this is the piece that will make extended jazz voicings feel natural under your fingers.