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In the light of the sun
(Fmaj9)is there an y one?
(Fmaj9)Oh, it has be gun.
Oh, dear you look so lost.
Your (Fmaj9)eyes are red and tears are shed.
This (Fmaj9)world you must have crossed.
You said, (C)“You don’t know me and you
don’t e ven care,
oh yeah.”
Well, you said, (C)“You don’t know me and you
don’t wear my
chains,
oh yeah.”
Es sen tial yet ap pealed,
you (Fmaj9)car ry all your thoughts
a (Fmaj9)cross an o pen field.
When the flowers gaze at you
they’re (Fmaj9)not the on ly ones
(Fmaj9)cry in’ when they see (G5)you.
You said, (C)“You don’t know me and you
don’t e ven care,
oh yeah.”
Well, you said, (C)“You don’t know me and you
don’t wear my
chains,
oh yeah.”
She said, “I think I’ll go to Bos ton.
I think I’ll start a new life.
I think I’ll start it o ver where no one knows my name.
I’ll (G)get out of Cal i for nia.
I’m tired of the weath er.
I think I’ll get a lov er and fly him out to Spain.
Oh yeah, I think I’ll go to Bos ton.
I think that I’m just tired.
I think I need a new town
to leave this all be hind.
I (G)think I need a sun rise.
I’m tired of the sun set.
Hear it’s nice in the sum mer, some snow would be nice,
(G)oh yeah.” (C)You don’t know me and you don’t e ven care,
oh yeah.
Bos ton,
no one knows my (Fmaj7)name.
No one knows my (C)name.
No one knows my (Fmaj7)name,
yeah.
Bos ton,
(G5)no one knows my name.
This page shows “Boston” by Augustana 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 C at 75 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a great way to build confidence with extended chords in a slow, forgiving tempo. Your left hand plays block bass notes — no complicated patterns — so you can really focus on letting your right hand settle into shapes like Fmaj7, Fmaj9, and Am9. Those "9" and "maj7" voicings sound intimidating, but at 75 BPM you have plenty of time to find each note. The trickiest transitions tend to be moving between Fmaj9 and G or Gsus4, where your hand has to shift position quickly; practice just those two-chord changes in a loop until they feel automatic. I'd suggest learning the verse hands-separately first, then combining once you can land each chord without looking down. Watch your sustain pedal — in a sad ballad like this, it's tempting to hold it too long, which muddies those beautiful extended harmonics. Lift and re-press with each chord change for a clean, emotional sound. This is the piece that'll make extended chords feel like second nature to you.