Major view
Ab major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G (leading tone, pulls home)
- 4 = Db (the note that leans on the 3rd)
Çağan Şengül - Benimle Kal - Chord
Key Ab major – F minor Chords Db, Fm, Eb, Bbm, Cm Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Fm Bbm
Yüzün eski bir şiirdi
Fm
Çok kez yazılmış
Bbm
Üstü karalanmış
Fm Bbm
Sevilmek bir savaş değil mi
Fm
Çok yalan bulaşmış
Bbm
Defalarca yara almış
Cm
Yine de arıyorsam seni
Db
Hükümsüzlüğün hakimiyim
Cm
Bile bile öleceğini
Db
Sever mi her kalp katilini
Fm
Durur zaman
Db
Benimle kal bu akşam
Eb
Beni sen vur
Db
Sen öldür
Eb
Beni sen büyüt
Db Fm
Sen döndür bu hayata
Fm
Uyur yaram
Db
Derinde bak kanatma
Eb
Beni sen koru
Db
Beni sen sakla
Eb
Beni sen kül et
Db Fm
Ya da hiç yakma yüreğimi
Fm Bbm Eb Db Eb Db Fm
Fm
Durur zaman
Db Eb Db Eb Db Fm
Benimle kal bu akşam
Fm
Uyur yaram
Bbm Eb Db Eb Db Fm
Derinde bak kanatma
Fm
Durur zaman
Db
Benimle kal bu akşam
Eb
Beni sen vur
Db
Sen öldür
Eb
Beni sen büyüt
Db Fm
Sen döndür bu hayata
Fm
Uyur yaram
Db
Derinde bak kanatma
Eb
Beni sen koru
Db
Beni sen sakla
Eb
Beni sen kül et
Db Fm
Ya da hiç yakma yüreğimi
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Çağan Şengül - Benimle Kal Tabs
NotesX
Harmony analysis
Çağan Şengül – Benimle Kal: key and chord analysis
The song opens on Fm and ends on Fm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Minor view
F minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Db (the minor's melancholy)
- b7 = Eb (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F minor side because it both starts and finishes on Fm and Fm is heard 18 times while Ab never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Ab 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 Ab or to Fm; 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 | Ab | Tonic — home | Ab · C · Eb | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 6× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 2× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 21× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 14× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 18× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 18× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 6× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 2× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 21× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 14× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 61 times in total; 5 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
- Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×12
- Db Fm AbIV → vi FmVI → iVI → i ×8
- Bbm Fm Abii → vi Fmiv → iminor plagal ×3
- Bbm Eb Abii → Vii → V Fmiv → VII ×2
The move to watch is Db → Eb, heard 12 times. From the Fm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Ab side it reads IV → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
- Over Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
- Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Eb, land on Eb, G, Bb — 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 Ab major shapes
- Capo 1 + G shapes
- Capo 4 + E shapes
- Capo 6 + D shapes
With F minor shapes
- Capo 1 + Em shapes
- Capo 3 + Dm shapes
Easiest keys on guitar
- 1 semitone down · capo 1 keeps the original pitch
- 4 semitones up
The song's harmonic story
Starting on Fm, the song gives away its key from the very first bar. Db, Fm, Eb, Bbm carry the song: IV–vi–V–ii relative to Ab, VI–i–VII–iv relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Db → Eb (IV → V in Ab, VI → VII in Fm): VI → VII — the rising step that heads for the tonic. Ending on Fm, the song seals Fm as home.
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.
Çağan Şengül - Benimle Kal 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: Çağan ŞengülMusic: Çağan ŞengülArrangement: Çağan Şengül
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