Mert Demir - Benden Kimseye Hayır Yok - Chord

Key C major – A minor Chords Em7, Fmaj7, Dm7 Difficulty already in its easiest key

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Capo 0

Fmaj7  Em7  Fmaj7  Em7

Fmaj7                              Em7
Düşüyorum tahmin edemediğin derinlere
Fmaj7                                       Em7
Duruyorum demeyi çok isterdim bıraktığın yerde
         Dm7
Bir girdabın ortasında, uçurumun kıyısında
         Em7
Ne fark eder önemi yok, dertlerin ortasındayım

Fmaj7                Em7
Benden kimseye hayır yok
                       Fmaj7
Bunu bil ve öyle devam et
                     Em7
Benden kimseye hayır yok
                       Dm7
Bunu bil ve öyle devam et

              Em7
Ve öyle devam et
              Dm7
Ve öyle devam et
              Em7
Ve öyle devam et

Fmaj7                Em7
Benden kimseye hayır yok
                       Fmaj7
Bunu bil ve öyle devam et
                     Em7
Benden kimseye hayır yok
                       Dm7
Bunu bil ve öyle devam et

End of song Play again?

Mert Demir - Benden Kimseye Hayır Yok Tabs

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Harmony analysis

Mert Demir – Benden Kimseye Hayır Yok: key and chord analysis

The song opens on Fmaj7 and ends on Dm7. 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)

Which side does the ear lean to?

Our reading: we can't honestly pick a side here — the song moves freely between C major and A minor. Try reading the chords both ways and see which feels more like home to you.

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	—
ii7	Dm7	Supertonic — prepares the dominant	D · F · A · C	4×
iii7	Em7	Mediant — a tonic-family shade	E · G · B · D	11×
III	E	Chromatic colour chordoutside the key	E · G# · B	—
IVmaj7	Fmaj7	Subdominant — moves away from home	F · A · C · E	8×
V	G	Dominant — strongest pull home	G · B · D	—
vi	Am	Relative minor — the melancholy side	A · C · E	—
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	—
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	—
iv7	Dm7	Subdominant — moves away from home	D · F · A · C	4×
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	8×
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). 3 different chords appear 23 times in total; 3 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

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
Over Fmaj7, land on F, A, C — 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. The chords that keep coming back are Em7, Fmaj7, Dm7; read them as iii7–IVmaj7–ii7 in C or v7–VImaj7–iv7 in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. It closes on Dm7, letting the C 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.