I tried to hide it through the (F)si lence while I played a long.
I’m well ing up be hind my eye lids when I’m hold ing on to the rage,
so (Eb)bad ly I hate
him.
And I wish that all of...
I real ly hate the way you think that you can get a way by blam ing all your stu pid prob lems on your men tal state.
I’m tired of (C)burnt out lies, ah,
hoo.
You think you know me, but you (Bb)hard ly e ven know your self.
I bite my tongue and let you think I on ly wish you well.
I don’t.
I (C)know you know it,
hoo.
And I’m (Eb)tired of let ting some one get the (Eb)best of me, so go a head and
cry,
cry.
and ru in some one else ’s life.
Cry,
cry.
Go y else so I can sleep at night.
Mm,
you’re more nar cis sis tic than an (Bb)y bod y in Hol ly wood.
You’re not a mis fit; don’t keep say ing you’re mis un der stood.
I’m tired, oh, (C)I’m so tired, ah,
hoo.
And may be (Eb)you’re the hon est type,
and it’s been (Eb)me the whole damn time.
I should (Eb)real ly try to calm my (Bb)see things from your (Eb)side.
Or (Eb)may be you can
cry,
cry.
and ru in some one else ’s life.
Cry,
cry.
Go y else so I can sleep at night.
(Cry,
cry.)
and ru in some one else ’s life.
(Cry,
cry.) And I’m (Eb)tired of let ting some one get the (Eb)best of me, so go a head and
cry,
cry.
and ru in some one else ’s...
This page shows “Cry” by Benson Boone 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 88 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement sits in E-flat major, so get comfortable with those three flats early — your left hand will be anchoring on E♭, A♭, and B♭ bass notes frequently, and if those positions aren't automatic, everything else will feel harder than it needs to. At 88 BPM the tempo is moderate, but the real challenge is the syncopated right-hand rhythm during the verses: you'll want to count eighth notes carefully so your melodic phrases land just ahead of or behind the beat rather than sliding into a straight, stiff feel. I'd suggest starting hands-separate at around 65 BPM, locking in that left-hand chord pattern until it's nearly mindless, then layering the melody on top. Watch the transition into the chorus — the energy jumps and the chords often move faster, so loop those four bars until they're smooth. Use sustain pedal to connect chords but change it cleanly on each new harmony to avoid muddiness. This is a fantastic piece for building confidence with flat-key chord shapes and expressive dynamic contrast between quiet verses and a powerful chorus, so lean into those volume shifts once the notes feel secure.