An oth er day has gone,
I’m still all a lone
how could this be,
you’re not here with me.
You ne ver said good bye,
some one tell me why,
did she have to go
and leave my world so cold?
Ev ’ry (Ab6)day I sit and ask my self how (Eb)did this thing end?
(Cm7)Some thing whis pers in my ear and says.
You are not a lone
I’m still all a lone
how could this be,
you’re not here with me.
You ne ver said good bye,
some one tell me why,
did she have to go
and leave my world so cold?
Ev ’ry (Ab6)day I sit and ask my self how (Eb)did this thing end?
(Cm7)Some thing whis pers in my ear and says.
You are not a lone
but you are not a lone
(Gbmaj7)lone,
lone,
why (Gbmaj7)lone.
Just the oth er night
I’m still all a lone
how could this be,
you’re not here with me.
You ne ver said good bye,
some one tell me why,
did she have to go
and leave my world so cold?
Ev ’ry (Ab6)day I sit and ask my self how (Eb)did this thing end?
(Cm7)Some thing whis pers in my ear and says.
You are not a lone
but you are not a lone
(Gbmaj7)lone,
lone,
why (Gbmaj7)lone.
Just the oth er night
but you are not a lone.
Whis per three (Ab)words then I’ll come (Ebm7)run ning,
I
and girl you know that I’ll be (F7sus)there,
I’ll be (Gb7sus)there.
(C)You are not a lone,
I am here with you,
though you’re far a way,
I am here to stay,
but you are not a lone
but I am here with you,
though we’re far a part,
you’re al ways in my heart
but (D)you are not a lone
I am here with you,
though you’re far a way,
I am here to stay
but you are not a lone
but I am here with you,
though we’re far a part,
you’re al ways in my heart,
you are not a lone.
This page shows “You Are Not Alone” by Michael Jackson 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 Eb at 64 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a gorgeous workout for smooth chord transitions — you'll navigate 20 different chords across several key centers, which sounds intimidating but the 64 BPM tempo gives you real breathing room. Your left hand plays an oompah bass pattern throughout, so start hands-separate and lock that in until it feels automatic; once it's steady, your right hand can float the melody on top without rushing. Watch the moments where the harmony shifts unexpectedly — moves like Eb into Gbmaj7 or the jump toward D and Bm7 signal key changes, and those are where most students stumble. Loop those transition bars slowly until your fingers know the new chord shape before they arrive. Use the sustain pedal generously but change it with each new bass note to keep things clear, not muddy. This is the piece that'll make playing in flat keys feel like home.