(E)Sum mer af ter high school, when we first met; Nev we’d (G#m)make out in your Mus tang to Ra di o head, and (C#m)on my eight eenth birth day, we got match ing tat toos.
Whoa.
Used to (E)steal your par ents’ li quor and climb to the roof, I (G#m)talk a bout our fu ture like we had a clue.
It’s (C#m)Nev er planned that one day, I’m I’d be los ing you.
But In an oth er life,
I would be your girl.
We’d keep all our prom is es; be us a gainst the world.
In an oth er life,
I would make you stay
so I don’t have to say you were the one that got a way,
the one that got a way.
(E)I was June, and you were my John ny Cash.
Nev er (G#m)one with out the oth er; we made a o pact.
and (C#m)Some times when I miss you, I put those rec ords on.
Whoa.
Used to (E)Some one said you had your and tat too re moved.
I (G#m)saw you down our town ture like sing ing the blues.
It’s (C#m)time to face the mu sic; I’m no long er your muse.
But in an oth er life,
I would be your girl.
We’d keep all our prom is es; be us a gainst the world.
In an oth er life,
I would make you stay
so I don’t have to say you were the one that got a way,
the one that got a way.
one that got a way.
The one,
the one,
the one,
the one that got a way.
All this mon ey can’t buy me a (C#m)time ma chine,
no.
Can’t re place you with a (C#m)mil lion rings, no.
I should a told you what you (C#m)meant to me,
whoa,
’cause now I pay the price.
(CN.C.)In an oth er life one that got a way.
The one,
The one,
the one,
the one,
the one.
the one.
In an oth er life,
I would make you stay
so I don’t have to say you were the one that got a way,
the one that got a way.
This page shows “The One That Got Away” by Katy Perry 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 E at 135 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement sits in the key of E and moves through nine chords, so your left hand will get a real workout with that octave bass pattern — keep your wrist loose and let your arm weight do the traveling rather than stretching stiffly between octaves. The trickiest transitions are moving from G#m or G#m7 into A and then up to B7; practice just those two-chord shifts slowly, hands separate, until the shapes feel automatic before you layer hands together. At 135 BPM the tempo pushes you forward, so start around 90–100 BPM and only speed up once your chord changes are clean — rushing will make those C#m to F#m moves stumble every time. Watch for the C chord that sneaks in; it's outside the key and will catch your fingers off guard if you're on autopilot. Use light sustain pedal, releasing on each chord change to keep the melancholic tone from getting muddy. This is a fantastic song for building confident four-and-five-chord progressions in a sharp key, which will pay off in so many other pop pieces down the road.