Lost Boy (arr. Brian Streckfus) Sheet Music | Ruth B | Guitar Chords/Lyrics

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Lost Boy (arr. Brian Streckfus) Digital Sheet Music
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Cover Art for "Lost Boy (arr. Brian Streckfus)" by Ruth B

Lost Boy (arr. Brian Streckfus)by Ruth B Guitar Chords/Lyrics - Digital Sheet Music

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This is a shortened version of the song to fit nicely on two pages (I needed a shorter version for the circumstances I'm under). The melody and lyrics are like the original as far as I can tell, but I did make changes to the harmony. Usually these changes to the harmony are to enhance the word painting, or to have it be more idiomatic to guitar. A version like this is ideal for someone who wants to play a very fancy version of the song on solo guitar, though adding vocals in should still be fairly easy. I personally sing a lot better if I can play the melody first on guitar because then I know exactly what I'm doing. Versions like these can really be as simple or as complex as you want, if you want something simple, just play the chord diagrams and sing!

1. Guitar Arrangement Lead Sheet Style
2. Guitar Tab
3. Chord Charts
4. Less stereotypical chords
5. Fingerings and letter names added to aid in sight-reading
6. Voice leading considerations
7. Making the music idiomatic for guitar

1. Notes with the stem direction going down are background harmonies that should be played quietly. This hidden meaning tends to only happen with polyphonic instruments such as piano and guitar. You'll eventually notice this anyways because there is no lyric underneath the note.
Slurs are notated to the make the music easier and better sounding for guitar not vocals, though of course it often mimicks slurs similiar to a vocalist.
2. Fmaj7(#11) is not in the original and is a key change since it includes an F and not an F#.
3. Sometimes it can look like the melody does not contain a key change, but then when you anaylze the letter names of the chords, you will find that there is indeed key changes in the chords. The Beatles is a good example of a band that does this often.
4. E minor and G major chords technically only need 2 or 3 notes. This is one simple but effective strategy to have less cliche chords.
5. The F(#5)(#11) chord in the second to last measure could probably be just an F major chord.
6. The E natural in measure 42 could be an Eb if the harmony is too avant-garde for you. Made sense to me because of word painting and I wanted a keyless and dreamy feeling for the end. 
7. G/B chords are arguably nicer than a full G chord, though of course the decision is ultimately up to. It is better because the chord is imperfect, it causes the audience to not clap too soon. I also only strum the chord up to where the vocal melody is happening, that way the main melody is always in the spot light, and I find songs are easier to sing this way.

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