An oth er day has gone,
I I’m still all a lone
how could this be,
and you’re not here with me?
You ne ver said good bye,
your some one tell me why,
but did she have to go
then and leave my world so cold?
Ev ’ry (A6)day I sit and ask my self how (E)did this thing end?
(C#m7)Some thing whis pers in my ear and says.
You are not a lone
I I am here with you
though you’re a way
and I am here to stay.
You You are not a lone,
your I am here with you,
but though we’re far a part
then you’re al ways in my heart.
Ev ’ry (A6)day I sit and ask my self how (E)did this thing end?
(C#m7)Some thing whis pers in my ear and says.
You are not a lone
but you are not a lone
(Gmaj7)lone,
lone,
why (Gmaj7)lone.
Just the oth er night
I thought I heard you cry
ask ing to come
and hold you in my arms.
You I can hear your prayers,
your bur dens I will bear,
but first I need you here
then for ev er can be gin.
Ev ’ry (A6)day I sit and ask my self how (E)did this thing end?
(C#m7)Some thing whis pers in my ear and says.
You are not a lone
but you are not a lone
(Gmaj7)lone,
lone,
why (Gmaj7)lone.
Just the oth er night
but you are not a lone.
Whis per three (A)words then I’ll come (Em7)run ning,
I
and girl you (A)know that I’ll be (F#7sus4)there,
I’ll be (G7sus4)there.
(Db)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 (Eb)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 B at 64 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement sits in the key of B major at a gentle 64 BPM, which sounds forgiving until you realize your hands are navigating twenty-two distinct chords — including chromatic detours like Gmaj7, Ab7, and Bbm7 that briefly pull you far from home. Your left hand carries an octave bass pattern throughout, so start by drilling those octave jumps until they feel automatic and even. Then learn the right-hand chord shapes in isolation, paying special attention to the minor-seventh voicings (C#m7, Ebm7, G#m7) since they cluster together in transitions and your fingers need to already know the shape before you arrive. Practice the trickiest two-bar progressions in a slow loop — especially where dominant sevenths resolve unexpectedly — before playing full sections. Keep your sustain pedal changes clean; at this tempo, muddy pedaling is instantly exposed. This is the piece that will make seventh-chord movement feel like second nature to you.