Nev - Benmişim - Chord

Key C major – A minor Chords G, Am, C, Dm, F Easy key G (capo 5)

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Capo 0

Am   C   Am   G

Am     C            G      Dm   
İçimde kaleler inşa ettim kırılmamak adına 
Am      C              G           Dm   
Harcına gözyaşı döktüm daha da sağlam olsun diye
Am      C            G        Dm   
Şimdi yarattığım zindanlarda ışıksızım

Am   C   Am   G

Am     C              G       Dm
Kaçtım kendime saklandım her küstüğümde 
Am        C          G        Dm
Vazgeçtim aynalardan vakitsiz uykularda
Am      C                G            Dm
İnsan kendine rağmen yaşamayı bilmeli bazen

Am   C   Am   G

C                  G               
Benmişim kendimden bir korkak yaratmışım
Am               C          G
Kendimi korurken en çok ben ürkütmüşüm
C                        G
Benmişim kendimi savunurken en çok hançerleyen
Am                   C        G
Bir meçhul olmuşum failim ben ama
G                    G
Beni bana küstüren, beni bana kırdıran 
F                  G 
Kalpsizin hiç suçu yok mu

Am   C   Am   G

Am        C           G      Dm
Kim demiş aşıklar hep mutlu olurlar diye
Am        C         G         Dm
Hesapsız seveceksin canın ağzına gelse de 
Am        C            G         
Vururken yalnızlık yüzüne 
                Dm             C    G
Sen pay edersin gönlünü onlarca hüzüne

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Nev - Benmişim Tabs

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Harmony analysis

Nev – Benmişim: key and chord analysis

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

Major view

C major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the A minor side because it opens on Am and Am is heard 19 times against 18 for C. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	18×
ii	Dm	Supertonic — prepares the dominant	D · F · A	9×
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	1×
V	G	Dominant — strongest pull home	G · B · D	21×
vi	Am	Relative minor — the melancholy side	A · C · E	19×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	19×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	18×
iv	Dm	Subdominant — moves away from home	D · F · A	9×
v	Em	Minor dominant — soft pull	E · G · B	—
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	1×
VII	G	Subtonic — steps back to the tonic	G · B · D	21×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 68 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.

Chord movement

Dm Am Cii → vi Amiv → iminor plagal ×8
G Am CV → videceptive cadence AmVII → iAeolian arrival ×6
G C CV → Iauthentic cadence AmVII → III ×2
F G CIV → VIV → V AmVI → VIIVI → VII ×1

The move to watch is Dm → Am, heard 8 times. From the Am side it is iv → i (minor plagal: deep and melancholic); from the C side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

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

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 C major shapes

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

Starting on Am, the song gives away its key from the very first bar. The backbone is G, Am, C, Dm — V–vi–I–ii from the C side, VII–i–III–iv from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → Am (ii → vi in C, iv → i in Am): minor plagal — deep and melancholic. Ending on G, the song seals C 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.