Sefo - Beni Beni - Chord

Key C major – A minor Chords E, Am, Dm, F Difficulty already in its easiest key

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Capo 0

Dm  E  Am

Dm     E            Am
Bu sen değilsin, karşılaştığım da
Dm     E              Am
Bu sen değilsin ve bu benim hatamsa
F      E             Am
Hatırlasan da hatırlamasan da
F    E         Am
Sana sorsam "beni beni beni"

Dm   E              Am
Unutamadım o gözlerini
Dm     E               Am
Söyleyemiyorum özlediğimi
F                  E          Am
Biliyorum bu durum çok tehlikeli
F                    E         Am
Bir adım at, söyle bana beni beni

     Dm       E         Am
İnadına yakıyorum gemileri
         Dm         E         Am
Bir adım at söyle bana beni beni
       F          E          Am
Beni beni, beni beni, beni beni
       F          E          Am
Beni beni, beni beni, beni beni

(Aynı akor döngüsü devam eder)


Gece sonu tehlikeli saatlerde
Sen ve ben ve de kedim var
Kafam dolu 
Derin derin daldım uzaklara
Kötü haber var
Modum olur yerle bir
Sıkışır tavan bana evim gelir dar
Bilmem ilaç kimdedir?
Dönüyor dakikalar elimde girdap

Gelmedin olsun
Kim bu fizandan beklediğim?
Sen ne diyorsun? kalmadı aşktan çekmediğim
Netti, bulandı
Simsiyah artık renkli değil 
Hiç bi’ şeyim
Kırgınım hepsine
Geçmişe değil

Bugün yaram daha derin artık
Demir değil, tamir edilsin
Naif, kibar katile kandım
Benim kafam tatil edilsin

Tenimi yakarken acı ben öylece sırıtamam
Çok unutkanım ama o gözlerini unutamam

Geçemiyorum o köprüleri
Sanardım tecrübeliyim

Oynadım görünmezi
Dünyaya karşı ben hep şüpheliyim

Törpüsün ömürdeki
Bunlarsa yazdığım son cümlelerim

Seçilmez gönüldeki
İnsanlar göremez önündekini

Ya delik deşik olmuş benim psikolojim ha gerekir zaman 
Yalnızım ve titriyor benim ellerim ve bunu kaldırmaz kafam
Denklemindeki adam benim böldün çarptın hani nerdedir kalan?
Çok kaldı sanmam
Nerde vicdan?

Ben sana naptım ha kaçtın da gittin?
Şu plastik dediğin kalbi erittin
Var sorular var cevabım çok netti ya
Yok denemem, yok
Bitti dedin bitti

End of song Play again?

Sefo - Beni Beni Tabs

NotesX

Harmony analysis

Sefo – Beni Beni: key and chord analysis

The song opens on Dm and ends on Am. Its chords belong to both C major and Am, so every chord below is read both ways.

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)

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)
#7 = G# (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 A minor side because it comes to rest on Am, Am is heard 13 times while C never appears and the major V chord points straight at Am. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	—
ii	Dm	Supertonic — prepares the dominant	D · F · A	7×
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	13×
IV	F	Subdominant — moves away from home	F · A · C	6×
V	G	Dominant — strongest pull home	G · B · D	—
vi	Am	Relative minor — the melancholy side	A · C · E	13×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	13×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	—
iv	Dm	Subdominant — moves away from home	D · F · A	7×
v	Em	Minor dominant — soft pull	E · G · B	—
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	13×
VI	F	Submediant — warm colour	F · A · C	6×
VII	G	Subtonic — steps back to the tonic	G · B · D	—

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 39 times in total; 3 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E is V/vi, a secondary dominant heading for Am.

Chord movement

E Am CV/vi → vi AmV → iharmonic-minor cadence ×13
Dm E Cii → V/vi Amiv → Viv → V ×7

The move to watch is E → Am, heard 13 times. From the Am side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the C side it reads V/vi → vi. 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 E, land on E, G#, B — the chord's own tones always sound right on strong beats.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
When E comes, swap the scale's G for G#: that single note is the harmonic-minor sound of the chord.

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 Dm lays a solid floor for everything that follows. E, Am, Dm, F carry the song: V/vi–vi–ii–IV relative to C, V–i–iv–VI relative to Am. E is the interesting twist: in C it is a chromatic chord (V/vi), while in Am it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on E → Am (V/vi → vi in C, V → i in Am): harmonic-minor cadence — the major V resolves dramatically. Ending on Am, the song seals Am 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.