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Quan do so no so lo so gno (C)l’o riz zon te man can le pa (Gsus)ro (G)le, (C)si lo so che (D)non c’è lu ce (C)u na stan za (D)quan do man ca (Gsus)so (G)le, (Dsus)se non ci (D)sei (C)tu (Em)con (C)me, con (D)me.
(G)Su
le fi (D)ne stre mo stra (Em7)tut ti mio cuo re che (C)hai ac (D)ce so, (G)chiu di den tro (D)me la lu ce (Em7)che
hai con (C)tra to per (D)stra da.
(G)Time to
(D)say good (Em7)bye.
Pa (G)e si
che non ho (Em7)mai
ve (C)du to vis su to con (G)te
(C)a des so (D)si li vi (G)vrò.
Con te
(D)par ti (Em7)rò
su (G)na vi per ma ri
(D)che, lo lo (Em7)so,
no, (C)no non e si sto no (G)più,
(C)con te io (D7)li vi vrò.
Quan do sei lon ta na so gno (C)l’o riz zon te man can le pa (Gsus)ro (G)le, (C)e io si lo (D)so che sei con (C6)me, con (D)me, (C)tu mia lu na (D)tu sei qui con (Em)me,
(C)mi o so le (D)tu sei qui con (C)me, con (D)me, con (C)me, con (D)me.
(G)Time to
(D)say good (Em7)bye.
Pa (G)e si
che non ho (Em7)mai
ve (C)du to vis su to con (G)te
(C)a des so (D7)si li vi (G)vrò.
Con te
(D)par ti (Em7)rò
su (G)na vi per ma ri
che, io lo (Em7)so,
no, (C)no, non e si sto no (G)più,
(C)con te io (D7)li ri vi (A)vrò.
Con te
(E)par ti (F#m7)rò
su (A)na vi per ma ri
(E)che, io lo (F#m7)so,
no, (D)no, non e si sto no (A)più,
(D)con te io (E7)li ri vi (A)vrò.
Con te
(E)par ti (F#m7)rò.
(D)Io (E)con (CN.C.)te.
This page shows “Time To Say Goodbye” by Sarah Brightman with Andrea Bocelli 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 60 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a wonderful workout for balancing a singing melody in your right hand against a steady oompah bass pattern in your left — that means your left hand alternates between a low root note and a higher chord chunk, so focus early on keeping that pattern smooth and even at 60 BPM before adding the melody on top. With sixteen chords in the key of G, you'll hit a few surprising shifts — watch especially for the move into C♯m and F♯m7, which pull your hand out of familiar G-major territory and require quick finger repositioning. I'd suggest looping the climactic section hands-separately first, since that's where the chord changes stack up fastest and the dramatic dynamics tempt you to rush. Use the sustain pedal generously but change it cleanly with each new chord; muddy pedaling is the number-one stumbling point I see with this piece. Keep your tempo locked even when the emotion swells — restraint is what makes the big moments land. This song will genuinely solidify your confidence moving between major, minor, and suspended chords under a lyrical melody, a skill you'll use in almost everything you play next.