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)
Funda Arar - Sen Benden Gittiğinde - Chord
Key D major – B minor Chords Bm, Em, A, F#m, C, F# Easy key C (capo 2)
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Key: D | Bm
Capo: 0
Bm
Derdi çeken anlarmış, gönlüm o biçim yanmış,
C
Her şey hederse var mı sebep,
Bm
Her sözüne aldandım bir ümide bağlandım,
C
Anlamını bilsem söylesem
Em
Belki beni hiç üzmez gözlerimi kör etsem,
Bm
Kimseyi düşündürmez sen de beni terk etsen,
A F# Bm
Kalbini de al gitsin çünkü sen yoksun yeniden
Em
Belki de hiç fark etmez biri beni çok sevdiyse,
Bm
Sanki onu terk etmez varsayalım her neyse,
A F# Bm
Nokta koyalım bitsin tek bir kelime demeden
Bm
Sen benden gittiğinde, aynalara uzak durdum,
F#m Bm
Geçmesin beynimden, arzulara yasak koydum
F#m Em
Yolladım kalbimden, şeytanına uymasın
A F#m Em Bm
Söyle beni yormasın, insaf et ya git ya kal ya yeter
End of song Play again?
Funda Arar - Sen Benden Gittiğinde Tabs
NotesX
Harmony analysis
Funda Arar – Sen Benden Gittiğinde: key and chord analysis
The song opens on Bm and ends on Bm. Its chords belong to both D major and Bm, so every chord below is read both ways.
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 both starts and finishes on Bm, Bm is heard 9 times while D never appears 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | D | Tonic — home | D · F# · A | — |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 4× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | 3× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | 2× |
| IV | G | Subdominant — moves away from home | G · B · D | — |
| V | A | Dominant — strongest pull home | A · C# · E | 3× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 9× |
| bVII | C | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | C · E · G | 2× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 9× |
| bII | C | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | C · E · G | 2× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | — |
| iv | Em | Subdominant — moves away from home | E · G · B | 4× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | 3× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | 2× |
| VI | G | Submediant — warm colour | G · B · D | — |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 3× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 6 different chords appear 23 times in total; 4 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# is V/vi, a secondary dominant heading for Bm. C is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Em Bm Dii → vi Bmiv → iminor plagal ×3
- F# Bm DV/vi → vi BmV → iharmonic-minor cadence ×2
- F#m Bm Diii → vi Bmv → inatural-minor cadence ×1
- Em A Dii → Vii → V Bmiv → VII ×1
The move to watch is Em → Bm, heard 3 times. From the Bm side it is iv → i (minor plagal: deep and melancholic); from the D side it reads ii → vi. 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 Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
- When F# comes, swap the scale's A for A#: that single note is the harmonic-minor sound of the chord.
- On C, follow the chord's notes (C · E · G) rather than the key's scale — it's a borrowed colour.
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
- 3 semitones up
The song's harmonic story
The opening Bm lays a solid floor for everything that follows. Bm, Em, A, F#m carry the song: vi–ii–V–iii relative to D, i–iv–VII–v relative to Bm. F# is the interesting twist: in D it is a chromatic chord (V/vi), while in Bm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Em → Bm (ii → vi in D, iv → i in Bm): minor plagal — deep and melancholic. It closes on Bm, letting the Bm 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.
Funda Arar - Sen Benden Gittiğinde 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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