Major view
G major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F# (leading tone, pulls home)
- 4 = C (the note that leans on the 3rd)
Aleyna Tilki - Sen Affetsen Ben Affetmem - Chord
Key G major – E minor Chords D, C, Em, Bm, Am, G Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Em
Tanrım kötü kullarını
D
Sen affetsen ben affetmem
Bütün zalim olanları
C Bm
Sen affetsen ben affetmem
D Em
Bütün zalim olanları
Am D C Bm
Sen affetsen ben affetmem
G D C
G
Sen Tanrısın affedersin
Em C
Bağışlarsın kulum dersin
C D
Neler çektim, sen bilirsin
C Bm
Sen affetsen, ben affetmem
Am D C Bm
Sen affetsen, ben affetmem
D Em
Bütün zalim olanları
Am D C Bm
Sen affetsen, ben affetmem
Em
Ağlatıp da gülenleri
D
Terk edip de gidenleri
Bm
Sevilip sevmeyenleri
Am D C Bm
Sen affetsen, ben affetmem
Em
Sevilip sevmeyenleri
Am D C Bm
Sen affetsen, ben affetmem
G D C
G
Ümidimi kıranları
Em
Bu dünyayı yakanları
G
Ümidimi kıranları
Em
Bu dünyayı yakanları
C D
Dar günde bırakanları
Em D
Sen affetsen ben affetmem
Am D C Bm
Sen affetsen, ben affetmem
D Em
Bütün zalim olanları
Am D C Bm
Sen affetsen, ben affetmem
End of song Play again?
Aleyna Tilki - Sen Affetsen Ben Affetmem Tabs
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Harmony analysis
Aleyna Tilki – Sen Affetsen Ben Affetmem: key and chord analysis
The song opens on Em and ends on Bm. Its chords belong to both G major and Em, so every chord below is read both ways.
Minor view
E minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = C (the minor's melancholy)
- b7 = D (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the E minor side because it opens on Em and Em is heard 10 times against 5 for G. That is an interpretation, not a rule — the same chords are just as valid seen from G major, and switching between the two views is exactly where the practice value lies.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to G or to Em; comparing both readings is a practice of its own.
Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | 5× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 7× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 10× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 14× |
| V | D | Dominant — strongest pull home | D · F# · A | 17× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 10× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 10× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 5× |
| iv | Am | Subdominant — moves away from home | A · C · E | 7× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 10× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 14× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 17× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 63 times in total; 6 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Am D Gii → Vii → V Emiv → VII ×7
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×4
- C G GIV → Iplagal cadence EmVI → III ×2
- C D GIV → VIV → V EmVI → VIIVI → VII ×2
- Bm Em Giii → vi Emv → inatural-minor cadence ×2
The move to watch is Am → D, heard 7 times. From the Em side it is iv → VII; from the G side it reads ii → V (ii → V: the classic preparation of the dominant). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
- Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
The song on the circle of fifths
- Played in the song — chord of the key
- Played — the minor's harmonic V or a secondary dominant
- Played — borrowed or outside chord
- Home region: IV–I–V and ii–vi–iii
Empty slices are chords the song doesn't use.
Capo and easier keys
With G major shapes
- No capo — open G shapes
- Capo 3 + E shapes
- Capo 5 + D shapes
With E minor shapes
- No capo — open Em shapes
- Capo 2 + Dm shapes
- Capo 7 + Am shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
The first chord is Em; the ear learns where home is within a second. The chords that keep coming back are D, C, Em, Bm; read them as V–IV–vi–iii in G or VII–VI–i–v in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am → D (ii → V in G, iv → VII in Em): ii → V — the classic preparation of the dominant. The final chord is Bm; the ear comes to rest in G.
This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.
Aleyna Tilki - Sen Affetsen Ben Affetmem Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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Lyrics: Ali TekintüreMusic: Burhan Bayar
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