Cem Karaca - Unut Beni - Chord

Key A major – F# minor Chords E, B7, A, F#m Easy key G (capo 2)

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Capo 0

E
 
E                F#m
Unut beni unut, arama
B7                  E
Sakla bu mendili, sakla
A            E   B7            E
Sakla bu mendili, bu mendili sakla
            F#m                  B7     E
Sende kalsın anarsan bir gün eğer akarsaa
A             E   B7                      E
Gözlerindeki yaşı, gözlerindeki yaşı silersin

E                F#m
Unut beni unut, arama
B7                  E
Sakla bu mendili, sakla
A           E
Sende kalsın kimin verdiğini soran olursa
A             E
Gözleri yaşlı, dudakları titrek
B7                     E
Bir hayalden arda kalan hatıra dersin

A             E
Gözleri yaşlı, dudakları titrek
B7                     E
Bir hayalden arda kalan hatıra dersin

E                F#m
Unut beni unut, arama
B7                  E
Sakla bu mendili, sakla
A           E  
Sende kalsın çünkü sen benim
B7             E
Sonbaharımda baharsın

A            E
Sonbaharımda, sonbaharımda
B7                E   B7  E
Sonbaharımda baharsın

End of song Play again?

Cem Karaca - Unut Beni Tabs

NotesX

Harmony analysis

Cem Karaca – Unut Beni: key and chord analysis

The song opens on E and ends on E. Its chords belong to both A major and F#m, so every chord below is read both ways.

Major view

A major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

F# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = D (the minor's melancholy)
b7 = E (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the A major side because A is heard 7 times against 4 for F#m. That is an interpretation, not a rule — hearing the same chords from F# minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to A or to F#m; 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 A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	7×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	—
V7/V	B7	Secondary dominant V/V — leads to Esecondary dominant	B · D# · F# · A	11×
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	—
V/vi	C#	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G#	—
IV	D	Subdominant — moves away from home	D · F# · A	—
V	E	Dominant — strongest pull home	E · G# · B	22×
vi	F#m	Relative minor — the melancholy side	F# · A · C#	4×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	4×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	7×
iv	Bm	Subdominant — moves away from home	B · D · F#	—
IV7	B7	Major IV — Dorian / melodic-minor colourmodal colour	B · D# · F# · A	11×
v	C#m	Minor dominant — soft pull	C# · E · G#	—
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VI	D	Submediant — warm colour	D · F# · A	—
VII	E	Subtonic — steps back to the tonic	E · G# · B	22×

Analysis

The key pair is A major and its relative F# minor (3 sharps). 4 different chords appear 44 times in total; 3 of them sit naturally inside the shared scale. B7 acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

B7 E AV7/V → Vsecondary resolution F#mIV7 → VII ×11
E A AV → Iauthentic cadence F#mVII → III ×7
E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×4

The move to watch is B7 → E, heard 11 times. From the A side it reads V7/V → V (secondary resolution: B7 resolves a fourth up to E); from the F#m side it is IV7 → VII. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
Over E, land on E, G#, B — the chord's own tones always sound right on strong beats.
Over B7, land on B, D#, F# — 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.

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 A major shapes

No capo — open A shapes
Capo 2 + G shapes
Capo 5 + E shapes

With F# minor shapes

Capo 2 + Em shapes
Capo 4 + Dm shapes

Easiest keys on guitar

2 semitones down · capo 2 keeps the original pitch
3 semitones up

The song's harmonic story

The opening E lays a solid floor for everything that follows. The backbone is E, B7, A, F#m — V–V7/V–I–vi from the A side, VII–IV7–III–i from the F#m side. B7 adds a moment of surprise: secondary dominant V/V — leads to E. Keep an ear on B7 → E (V7/V → V in A, IV7 → VII in F#m): secondary resolution — B7 resolves a fourth up to E. The final chord is E; the ear comes to rest in A.

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.