Çelik - Benimle Kal - Chord

Key G major – E minor Chords G, D7, C, Cm Easy key A

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Capo 0

G
Hatalıyım biliyorum ne olur bir kez dinle sözlerimi
           D7     C            G
Bir fırsat ver aşkımın hatırı aşkımız için
  
       D7            C                G
Beni kahkahamla sev hüznümü de benden ayırma
        D7             C                    G
Paylaş gözyaşlarımı taşsın gitsin boş ver aldırma
       D7                   C 
Sen yanımda olmayınca ben ben değilim
    G            D7 
Benimle kal benimle kal
    
            C
Sen gitme hep benimle kal ne olur bırakma ellerimi
G
Benimle kal ne olur kaçırma gözlerini
D7                                     G        
Benimle kal ne olursun ne olur benimle kal
  
G
Anılarım sevgi dolu ne olur bir kez dinle yüreğimi  
        D7      C                 G
Bir fırsat ver aşkımın hatırı aşkımız için
  
D7                             C  Cm   G 
Benimle kal ne olursun ne olur benimle kal

End of song Play again?

Çelik - Benimle Kal Tabs

NotesX

Harmony analysis

Çelik – Benimle Kal: key and chord analysis

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

Major view

G major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

E minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

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

Which side does the ear lean to?

Our reading: to us the song feels closer to the G major side because it both starts and finishes on G and G is heard 10 times while Em never appears. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to G or to Em; 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 G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	10×
ii	Am	Supertonic — prepares the dominant	A · C · E	—
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
III	B	Chromatic colour chordoutside the key	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	7×
iv	Cm	Minor iv — borrowed from the parallel minorborrowed chord	C · Eb · G	1×
V7	D7	Dominant — strongest pull home	D · F# · A · C	8×
vi	Em	Relative minor — the melancholy side	E · G · B	—
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	—
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	10×
iv	Am	Subdominant — moves away from home	A · C · E	—
v	Bm	Minor dominant — soft pull	B · D · F#	—
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	7×
vi	Cm	Chromatic colour chordoutside the key	C · Eb · G	1×
VII7	D7	Subtonic — steps back to the tonic	D · F# · A · C	8×

Analysis

The key pair is G major and its relative E minor (1 sharp). 4 different chords appear 26 times in total; 3 of them sit naturally inside the shared scale. Cm is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

C G GIV → Iplagal cadence EmVI → III ×6
D7 G GV7 → Iauthentic cadence EmVII7 → III ×1
Cm G Giv → Iminor plagal Emvi → III ×1

The move to watch is C → G, heard 6 times. From the G side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Em side it is VI → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
Over D7, land on D, F#, A — the chord's own tones always sound right on strong beats.
Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
On Cm, follow the chord's notes (C · Eb · 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 G major shapes

No capo — open G shapes
Capo 3 + E shapes
Capo 5 + D shapes

With E minor shapes

No capo — open Em shapes
Capo 2 + Dm shapes
Capo 7 + Am shapes

Easiest keys on guitar

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

The song's harmonic story

The opening G lays a solid floor for everything that follows. G, D7, C, Cm carry the song: I–V7–IV–iv relative to G, III–VII7–VI–vi relative to Em. Cm briefly darkens the picture: minor iv — borrowed from the parallel minor. Keep an ear on C → G (IV → I in G, VI → III in Em): plagal cadence — the soft 'amen' ending. It closes on G, letting the G 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.