(Eb)You’ve got a (Bb)friend in me.
You’ve got a (Adim)friend in me.
When the road looks rough a head and you’re (Ab)miles and miles from your (G)nice warm (Cm)bed.
you (D)just re (Eb)mem ber (G)what your (Ab)old (G)pal said.
Son, (F)you’ve got a (Bb)friend in me.
Yeah, (F)you’ve got a (Bb)friend in me.
Some oth er folk might be a (D)lit tle bit smart er than I am, big ger and (D)strong er (Eb)too.
May be.
But none of (Em)them will (F)ev er (D)love you the (Gm)way I do, just (Fm)me and (Bb)you.
And as the (Bb)years go by,
our (Ab)friend ship will (A)nev er die.
You’re gon na see (A)it’s our (Eb)des (G)ti (Cm)ny.
You’ve got a (Bb)friend in me.
You’ve got a (Bb)friend in me.
You’ve got a (Bb)friend in me.
This page shows “You've Got A Friend In Me” by Randy Newman 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 Ab at 100 BPM, a slightly more challenging arrangement — practice each phrase slowly first.
This arrangement is a great way to get comfortable playing in Ab — four flats can feel unfamiliar at first, but the octave bass pattern in your left hand keeps things steady and predictable, so you can focus on learning where those black keys sit under your fingers. Your biggest challenge will be the chromatic passing chords like Adim and the out-of-key surprises (D, Em, G, A) — these pop up quickly and ask your hands to jump to unexpected shapes, so isolate each transition and drill it slowly before you try to play through. At 100 BPM the tempo is relaxed, but the playful swing feel means you'll want to lean into a slight rhythmic lilt rather than playing everything dead-straight; listen to the groove and let your eighth notes breathe unevenly. I'd suggest hands-separate practice first — get that left-hand octave bass on autopilot, then layer in the right hand a few bars at a time. Loop any spot where a chord change catches you off guard until it feels boring, then move on. This is the piece that'll build your confidence navigating chromatic movement and unusual chord colors, skills that make everything else you play sound more expressive.