Baturalp - Ben Ben Olamadım - Chord

Key E major – C# minor Chords E, F#m, G#, C#m, C Easy key C (capo 4)

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Capo 0

C#m  C  E  E  F#m  F#m  G#  G#

C#m       C             E                       F#m                G#
 Pazar banyoları sonrası "yapmadığın ödev var mı" derdi bG#am işte öyle bir zaman
C#m        C                 E                     F#m                   G#
 Kısa pantolonlu küçük adamdım saçlarımı yana tarardım koca bir tırmık gibiydi ellerimde tarak
C#m      C             E                      F#m                G#
 Saklanırdım hiç çıkmazdım, kaçarsam kovalanırdım, hırsız polis sadece bir oyundu
C#m         C             E                    F#m                     G#
 7 kiremiti üst üste dizerdim dünyaları yuvarladım makyajlar yapardım oyunlara tebeşirden

C#m      E        F#m         G#
 Büyüdüm, büyüdüm, büyüdüm de ne oldu bana şimdi
C#m      E        F#m         G#                 E
 Büyüdüm, büyüdüm, büyüdüm de ne oldu bana şimdi

C#m           E
Ben, ben olamadım 
        F#m       G#
Yerimde hiç duramadım 
           C#m           E
Bir gün sarhoş bir gün nahoş 
         F#m          G#
Kendime ben hiç uğramadım

C#m      C             E                     F#m                        G#
 Okul çalar melodisi aşar, mobiletliydi esnaflar, dışarıda beklenirdi yeşil yeşil erikler
C#m       C            E                       F#m                      G#
 Şekerden bayramlar vardı, hayat çoktan 12’i aştı, güzel yemekli evler uzaklara göç ettiler
C#m       C               E                           F#m                       G#
 Işıklı yoyomun pilleri bitti, ütülen taso geri döner mi, ne güzeldi o zamanlar benim dertlerim
C#m        C               E                      F#m                      G#
 Megafonlardan gelirdi sesi, hoca alarmın ta kendisi, annem duyunca derdi "nerede kaldın sen"
 
C#m      E        F#m         G#
 Büyüdüm, büyüdüm, büyüdüm de ne oldu bana şimdi
C#m      E        F#m         G#                 E
 Büyüdüm, büyüdüm, büyüdüm de ne oldu bana şimdi

C#m           E
Ben, ben olamadım 
        F#m       G#
Yerimde hiç duramadım 
           C#m           E
Bir gün sarhoş bir gün nahoş 
         F#m          G#
Kendime ben hiç uğramadım

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Baturalp - Ben Ben Olamadım Tabs

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Harmony analysis

Baturalp – Ben Ben Olamadım: key and chord analysis

The song opens on C#m and ends on G#. Its chords belong to both E major and C#m, so every chord below is read both ways.

Major view

E major

Brightness rank 2/7 (bright)

Characteristic notes

7 = D# (leading tone, pulls home)
4 = A (the note that leans on the 3rd)

Minor view

C# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = A (the minor's melancholy)
b7 = B (natural-minor colour)
#7 = B# (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C# minor side because it opens on C#m, E is heard 20 times against 17 for C#m and the major V chord points straight at C#m. That is an interpretation, not a rule — the same chords are just as valid seen from E 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 E or to C#m; 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.

Seen from E major
Degree	Chord	Role	Notes	In song
I	E	Tonic — home	E · G# · B	20×
ii	F#m	Supertonic — prepares the dominant	F# · A · C#	18×
iii	G#m	Mediant — a tonic-family shade	G# · B · D#	—
V/vi	G#	Secondary dominant V/vi — leads to C#msecondary dominant	G# · B# · D#	18×
IV	A	Subdominant — moves away from home	A · C# · E	—
V	B	Dominant — strongest pull home	B · D# · F#	—
bVI	C	Borrowed from the parallel minorborrowed chord	C · E · G	9×
vi	C#m	Relative minor — the melancholy side	C# · E · G#	17×
vii°	D#dim	Leading-tone chord — tension	D# · F# · A	—

Seen from C# minor
Degree	Chord	Role	Notes	In song
i	C#m	Tonic — home	C# · E · G#	17×
ii°	D#dim	Supertonic — prepares the dominant	D# · F# · A	—
III	E	Relative major — the bright side	E · G# · B	20×
iv	F#m	Subdominant — moves away from home	F# · A · C#	18×
v	G#m	Minor dominant — soft pull	G# · B · D#	—
V	G#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G# · B# · D#	18×
VI	A	Submediant — warm colour	A · C# · E	—
VII	B	Subtonic — steps back to the tonic	B · D# · F#	—
#VII	C	Chromatic colour chordoutside the key	C · E · G	9×

Analysis

The key pair is E major and its relative C# minor (4 sharps). 5 different chords appear 82 times in total; 3 of them sit naturally inside the shared scale. The major V of C#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from E, the same G# is V/vi, a secondary dominant heading for C#m. C is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

F#m G# Eii → V/vi C#miv → Viv → V ×17
G# C#m EV/vi → vi C#mV → iharmonic-minor cadence ×14

The move to watch is F#m → G#, heard 17 times. From the C#m side it is iv → V (iv → V: the minor side's tension builder); from the E side it reads ii → V/vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

E major pentatonic and C# minor pentatonic are the same five notes (E – F# – G# – B – C#): start from E for a brighter phrase, from C# for a bluesier one.
Over E, land on E, G#, B — the chord's own tones always sound right on strong beats.
Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
Over G#, land on G#, B#, D# — the chord's own tones always sound right on strong beats.
When G# comes, swap the scale's B for B#: that single note is the harmonic-minor sound of the chord.
On C, follow the chord's notes (C · E · G) rather than the key's scale — it's a borrowed colour.

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 E major shapes

No capo — open E shapes
Capo 2 + D shapes
Capo 4 + C shapes

With C# minor shapes

Capo 4 + Am shapes

Easiest keys on guitar

4 semitones down · capo 4 keeps the original pitch
3 semitones up

The song's harmonic story

The opening C#m lays a solid floor for everything that follows. E, F#m, G#, C#m carry the song: I–ii–V/vi–vi relative to E, III–iv–V–i relative to C#m. G# is the interesting twist: in E it is a chromatic chord (V/vi), while in C#m it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on F#m → G# (ii → V/vi in E, iv → V in C#m): iv → V — the minor side's tension builder. It closes on G#, letting the E side have the last word.

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.