Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
Mehmet Güreli - Sen ve Ben - Chord
Key C major – A minor Chords Fmaj7, Em7, Dm7, Cmaj7, C, Am, F, G Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Fmaj7 Em7 Dm7 C
Fmaj7 Em7 Dm7 Cmaj7
Gel yine gel, bir sabah yeniden
Fmaj7 Em7 Dm7 Cmaj7
Yüreğimde ağlayan şarkıları hiç söylemeden
Fmaj7 Em7 Dm7 Cmaj7
Gel yine gel, şu yağmur hiç dinmeden
Fmaj7 Em7 Dm7 Cmaj7
Çekingen gölgeler akreplerle duvarda sevişmeden
Am F G C
Eriyorum senden habersiz burada
Am F G C
Görüyorum her şeyi zamanla
Fmaj7 Em7 Dm7 Cmaj7
Gel yine gel, gözlerinde gölgeler
Fmaj7 Em7
Zaman her şeyi değiştirse de
Dm7 Cmaj7
Bir gün doğruyu söyler
Am F G C
Göçebe bir rüya hep sana doğru gelen
Am F G C
Ben orada olmasam da bir bir ezip geçen
Fmaj7 Em7 Dm7 Cmaj7
Gel yine gel, yazdıklarınla
Fmaj7 Em7 Dm7 Cmaj7
Yarım kalmış olsa da öpüşmeye değer
Fmaj7 Em7 Dm7 Cmaj7
Sen ve ben, bilmem ne desem
Fmaj7 Em7 Dm7 Cmaj7
Böyle gidiyoruz işte gün saat demeden
End of song Play again?
Mehmet Güreli - Sen ve Ben Tabs
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Harmony analysis
Mehmet Güreli – Sen ve Ben: key and chord analysis
The song opens on Fmaj7 and ends on Cmaj7. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the C major side because it comes to rest on C and C is heard 15 times against 4 for Am. That is an interpretation, not a rule — hearing the same chords from A minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to C or to Am; 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 |
|---|---|---|---|---|
| Imaj7 | Cmaj7 | Tonic — home | C · E · G · B | 10× |
| I | C | Tonic — home | C · E · G | 5× |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 11× |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 11× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IVmaj7 | Fmaj7 | Subdominant — moves away from home | F · A · C · E | 11× |
| IV | F | Subdominant — moves away from home | F · A · C | 4× |
| V | G | Dominant — strongest pull home | G · B · D | 4× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 4× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 4× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| IIImaj7 | Cmaj7 | Relative major — the bright side | C · E · G · B | 10× |
| III | C | Relative major — the bright side | C · E · G | 5× |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 11× |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 11× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VImaj7 | Fmaj7 | Submediant — warm colour | F · A · C · E | 11× |
| VI | F | Submediant — warm colour | F · A · C | 4× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 4× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 8 different chords appear 60 times in total; 8 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
- G C CV → Iauthentic cadence AmVII → III ×4
- F G CIV → VIV → V AmVI → VIIVI → VII ×4
The move to watch is G → C, heard 4 times. From the C side it reads V → I (authentic cadence: the strongest arrival home); from the Am side it is VII → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over Fmaj7, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over Dm7, land on D, F, A — 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 C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
The opening Fmaj7 lays a solid floor for everything that follows. Fmaj7, Em7, Dm7, Cmaj7 carry the song: IVmaj7–iii7–ii7–Imaj7 relative to C, VImaj7–v7–iv7–IIImaj7 relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → C (V → I in C, VII → III in Am): authentic cadence — the strongest arrival home. Ending on Cmaj7, the song seals C 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.
Mehmet Güreli - Sen ve Ben 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: Mehmet GüreliMusic: Mehmet Güreli
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