Sena Şener - Yan Benimle - Chord

Key D major – B minor Chords Bm, F#7, Gmaj7, Em, C#m7b5, D, A Easy key C (capo 2)

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Capo 0

Bm  Em  Gmaj7  F#7  Bm  F#7

     Bm          Em
Aklımda hiç kimse yok
      Gmaj7          F#7
Kimse sahip olamaz bana 
              Bm
Ama ben onun, o benim

Başkaları gezebilir
Em
Ten, ten, ten
      Gmaj7 
Benim gönlüm özgür ama
F#7           Bm
Ben onun, o benim

   Gmaj7              F#7
Savaşmak, sevişmek, dokunmak, sadakat
  Em                 F#7
Anlaşmak, keşfetmek, özgürleşmek

         Bm        D
Yan benimle, yan benimle
     Em      Gmaj7   F#7     Bm  C#m7b5
Benimle yan, yan, yaaan benimle

Bm  Em  Gmaj7  F#7  Bm  C#m7b5

      Bm          Em
Yangında hiç dinme yok
       Gmaj7            F#7
Dedim "Ben benim, kendimleyim"
              Bm      C#m7b5
Ama ben onun, o benim 
  Bm               Em
İnsanlar ne garip, yüzeysel
      Gmaj7
Benim gönlüm derinlerde
F#7           Bm  C#m7b5
Ben onun, o benim

   Gmaj7              F#7
Savaşmak, sevişmek, dokunmak, sadakat
  Em                 F#7
Anlaşmak, keşfetmek, özgürleşmek

         Bm        D
Yan benimle, yan benimle
     Em      Gmaj7   F#7     Bm  C#m7b5
Benimle yan, yan, yaaan benimle

Gmaj7     F#7
 Sön benimle
    Bm      A    F#7
Bedenin kül olsuuun
           Gmaj7
Bağlanmak acıtır diye
     Bm         C#m7b5
Korkamam, yaşayamam

         Bm        D
Yan benimle, yan benimle
     Em      Gmaj7   F#7     Bm  C#m7b5
Benimle yan, yan, yaaan benimle

End of song Play again?

Sena Şener - Yan Benimle Tabs

NotesX

Harmony analysis

Sena Şener – Yan Benimle: key and chord analysis

The song opens on Bm and ends on C#m7b5. Its chords belong to both D major and Bm, so every chord below is read both ways.

Major view

D major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

B minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = G (the minor's melancholy)
b7 = A (natural-minor colour)
#7 = A# (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 B minor side because it opens on Bm, Bm is heard 19 times against 3 for D and the major V chord points straight at Bm. That is an interpretation, not a rule — the same chords are just as valid seen from D 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 D or to Bm; 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 D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	3×
ii	Em	Supertonic — prepares the dominant	E · G · B	11×
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	—
V7/vi	F#7	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C# · E	16×
IVmaj7	Gmaj7	Subdominant — moves away from home	G · B · D · F#	13×
V	A	Dominant — strongest pull home	A · C# · E	1×
vi	Bm	Relative minor — the melancholy side	B · D · F#	19×
viiø7	C#m7b5	Leading-tone chord — tension	C# · E · G · B	7×

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	19×
iiø7	C#m7b5	Supertonic — prepares the dominant	C# · E · G · B	7×
III	D	Relative major — the bright side	D · F# · A	3×
iv	Em	Subdominant — moves away from home	E · G · B	11×
v	F#m	Minor dominant — soft pull	F# · A · C#	—
V7	F#7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C# · E	16×
VImaj7	Gmaj7	Submediant — warm colour	G · B · D · F#	13×
VII	A	Subtonic — steps back to the tonic	A · C# · E	1×

Analysis

The key pair is D major and its relative B minor (2 sharps). 7 different chords appear 70 times in total; 6 of them sit naturally inside the shared scale. The major V of Bm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from D, the same F#7 is V7/vi, a secondary dominant heading for Bm.

Chord movement

F#7 Bm DV7/vi → visecondary resolution BmV7 → iharmonic-minor cadence ×13
Em F#7 Dii → V7/vi Bmiv → V7iv → V ×2
Gmaj7 Bm DIVmaj7 → vi BmVImaj7 → iVI → i ×1

The move to watch is F#7 → Bm, heard 13 times. From the Bm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the D side it reads V7/vi → vi (secondary resolution: F#7 resolves a fourth up to Bm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
Over Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
Over F#7, land on F#, A#, C# — the chord's own tones always sound right on strong beats.
Over Gmaj7, land on G, B, D — the chord's own tones always sound right on strong beats.
When F#7 comes, swap the scale's A for A#: 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 D major shapes

No capo — open D shapes
Capo 2 + C shapes
Capo 5 + A shapes

With B minor shapes

Capo 2 + Am shapes
Capo 7 + Em shapes

Easiest keys on guitar

2 semitones down · capo 2 keeps the original pitch
5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

The opening Bm lays a solid floor for everything that follows. The backbone is Bm, F#7, Gmaj7, Em — vi–V7/vi–IVmaj7–ii from the D side, i–V7–VImaj7–iv from the Bm side. F#7 is the interesting twist: in D it is a chromatic chord (V7/vi), while in Bm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on F#7 → Bm (V7/vi → vi in D, V7 → i in Bm): harmonic-minor cadence — the major V resolves dramatically. It closes on C#m7b5, letting the D 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.