Bengü - Saygımdan - Chord

Key Ab major – F minor Chords Fm, Cm7, Bbm7, Dbmaj7, Eb, C7, Cm Easy key C

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Capo 0

Fm  Fm  Cm7  Cm7  Bbm7  Eb  Fm  Eb  Dbmaj7  C7  Fm
x2

Fm                                    Cm7
Eğdirmem başımı kimselere ama sana yerle bir oldum
         Eb                              Fm
Giderim uzaklaşırım her zaman, ilk kez dönüp durdum
                                  Cm7
Ağladım içime attım her şeyi biriktirdim
          Eb                           Fm
Gecikmeli coştum taştım bu yüzden de duruldum
 
Bbm7  Cm7  Dbmaj7              Cm7      Bbm7
Kor   kum  dan bir kere bile seni aramadıysam
     Dbmaj7          Eb                Fm
Yönsüzüm sensiz, sebebi bir yere konamadıysam
      Dbmaj7             Cm7        Bbm7
Unutmadım nedeni hiç bir aşka sığamadıysam
     Dbmaj7             Eb             Fm     C7
Saygımdan biraz da seni unutmaya kıyamadıysam

Fm                       Cm7
Ah delikanlıydı bir zamanlar içimde yangınların
Eb                          Bbm7
Hep başımı alıp gittiğimden ziyan sevdalarım
Bbm7  Cm7  Dbmaj7                      Cm7
Söy   le   mem ben acılarımı hep içime içime anlatırım
         Bbm7         Dbmaj7  Bbm7        Fm
En acısı ölmüyor da insan ben bunu da atlatırım

Fm  Fm  Cm7  Cm7  Bbm7  Eb  Fm  Eb   Dbmaj7  C7  Fm

Fm                                Cm
Ağladım içime attım her şeyi biriktirdim
          Eb                           Fm
Gecikmeli coştum taştım bu yüzden de duruldum

Bbm7  Cm7  Dbmaj7              Cm7      Bbm7
Kor   kum  dan bir kere bile seni aramadıysam
     Dbmaj7          Eb                Fm
Yönsüzüm sensiz, sebebi bir yere konamadıysam
      Dbmaj7             Cm7        Bbm7
Unutmadım nedeni hiç bir aşka sığamadıysam
     Dbmaj7             Eb             Fm     C7
Saygımdan biraz da seni unutmaya kıyamadıysam

Fm                       Cm7
Ah delikanlıydı bir zamanlar içimde yangınların
Eb                          Bbm7
Hep başımı alıp gittiğimden ziyan sevdalarım
Bbm7  Cm7  Dbmaj7                      Cm7
Söy   le   mem ben acılarımı hep içime içime anlatırım
         Bbm7         Dbmaj7  Bbm7        Fm
En acısı ölmüyor da insan ben bunu da atlatırım

End of song Play again?

Bengü - Saygımdan Tabs

NotesX

Harmony analysis

Bengü – Saygımdan: key and chord analysis

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

Major view

Ab major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

F minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Db (the minor's melancholy)
b7 = Eb (natural-minor colour)
#7 = E (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 F minor side because it both starts and finishes on Fm, Fm is heard 21 times while Ab never appears and the major V chord points straight at Fm. That is an interpretation, not a rule — the same chords are just as valid seen from Ab 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 Ab or to Fm; 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 Ab major
Degree	Chord	Role	Notes	In song
I	Ab	Tonic — home	Ab · C · Eb	—
ii7	Bbm7	Supertonic — prepares the dominant	Bb · Db · F · Ab	16×
iii7	Cm7	Mediant — a tonic-family shade	C · Eb · G · Bb	18×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	1×
V7/vi	C7	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G · Bb	4×
IVmaj7	Dbmaj7	Subdominant — moves away from home	Db · F · Ab · C	14×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	13×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	21×
vii°	Gdim	Leading-tone chord — tension	G · Bb · Db	—

Seen from F minor
Degree	Chord	Role	Notes	In song
i	Fm	Tonic — home	F · Ab · C	21×
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
III	Ab	Relative major — the bright side	Ab · C · Eb	—
iv7	Bbm7	Subdominant — moves away from home	Bb · Db · F · Ab	16×
v7	Cm7	Minor dominant — soft pull	C · Eb · G · Bb	18×
v	Cm	Minor dominant — soft pull	C · Eb · G	1×
V7	C7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G · Bb	4×
VImaj7	Dbmaj7	Submediant — warm colour	Db · F · Ab · C	14×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	13×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 7 different chords appear 87 times in total; 6 of them sit naturally inside the shared scale. The major V of Fm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Ab, the same C7 is V7/vi, a secondary dominant heading for Fm.

Chord movement

Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×9
C7 Fm AbV7/vi → visecondary resolution FmV7 → iharmonic-minor cadence ×4
Dbmaj7 Eb AbIVmaj7 → VIV → V FmVImaj7 → VIIVI → VII ×4
Bbm7 Fm Abii7 → vi Fmiv7 → iminor plagal ×2
Bbm7 Eb Abii7 → Vii → V Fmiv7 → VII ×2

The move to watch is Eb → Fm, heard 9 times. From the Fm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Ab side it reads V → vi (deceptive cadence: expected Ab, lands on Fm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Bbm7, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
When C7 comes, swap the scale's Eb for E: 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 Ab major shapes

Capo 1 + G shapes
Capo 4 + E shapes
Capo 6 + D shapes

With F minor shapes

Capo 1 + Em shapes
Capo 3 + Dm shapes

Easiest keys on guitar

4 semitones up
1 semitone down · capo 1 keeps the original pitch

The song's harmonic story

Starting on Fm, the song gives away its key from the very first bar. Fm, Cm7, Bbm7, Dbmaj7 carry the song: vi–iii7–ii7–IVmaj7 relative to Ab, i–v7–iv7–VImaj7 relative to Fm. C7 is the interesting twist: in Ab it is a chromatic chord (V7/vi), while in Fm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Eb → Fm (V → vi in Ab, VII → i in Fm): Aeolian arrival — rises a whole tone into home. Ending on Fm, the song seals Fm 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.