Tarkan - Ben Senin - Chord

Key Ab major – F minor Chords C, A#m, C#, D# Easy key C

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Capo 0

C
Seni seviyorum olduğun gibi
      A#m               C
Gerisinin hiçbir önemi yok
C
Sıfırladım kendimi de seni de
      A#m           C
Lakin sende maraza çok
C
Kurcalama yeter 
               A#m             C
Gizli kapaklı bütün çekmecelerimi
C
Bitiremedin döne döne, sora sora
      A#m          C
Eskilerimi, yenilerimi
 
D#
Ben senin ben senin ben senin ben senin
D#
Ben senin ben senin ben senin ben senin
C#          C       C#         C
Cemazülevvelini karıştırıyor muyum
C#               C      
Soruyor muyum ahretlik sorular
A#m             C
Soruşturuyor muyum

C
Bu benim hayatım 
                A#m           C
Her saniyesine kefilim, tamam mı
C
Bayıla bayıla gelmedin mi bana sen
A#m             C
Ne yani, yalan mı
C
İyi ki yaşadım, iyi ki sevdim
        A#m        C
İyi ki ağladım, güldüm
C
Pişman değilim düşe kalka
    A#m              C
Yürüdüm de öyle büyüdüm
 
D#
Ben senin ben senin ben senin ben senin
D#
Ben senin ben senin ben senin ben senin
C#          C       C#         C
Cemazülevvelini karıştırıyor muyum
C#               C      
Soruyor muyum ahretlik sorular
A#m             C
Soruşturuyor muyum

C#
Acı söz demedim, haram ellemedim
                    C
Kul hakkı yemedim, daha ne olsun
C#
Gönül titremeden, kalben istemeden
                C
Hiç sevemedim, isterse ölsün
 
D#
Ben senin ben senin ben senin ben senin
D#
Ben senin ben senin ben senin ben senin
C#          C       C#         C
Cemazülevvelini karıştırıyor muyum
C#               C      
Soruyor muyum ahretlik sorular
A#m             C
Soruşturuyor muyum

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Tarkan - Ben Senin Tabs

NotesX

Harmony analysis

Tarkan – Ben Senin: key and chord analysis

The song opens on C and ends on C. 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 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	—
ii	A#m	Supertonic — prepares the dominant	A# · C# · E#	11×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	—
III	C	Chromatic colour chordoutside the key	C · E · G	30×
IV	C#	Subdominant — moves away from home	C# · E# · G#	11×
V	D#	Dominant — strongest pull home	D# · G · A#	6×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	—
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	—
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
III	Ab	Relative major — the bright side	Ab · C · Eb	—
iv	A#m	Subdominant — moves away from home	A# · C# · E#	11×
v	Cm	Minor dominant — soft pull	C · Eb · G	—
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	30×
VI	C#	Submediant — warm colour	C# · E# · G#	11×
VII	D#	Subtonic — steps back to the tonic	D# · G · A#	6×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 4 different chords appear 58 times in total; 3 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.

Chord movement

A#m C Abii → III Fmiv → Viv → V ×11

The move to watch is A#m → C, heard 11 times. From the Fm side it is iv → V (iv → V: the minor side's tension builder); from the Ab side it reads ii → III. 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 C, land on C, E, G — the chord's own tones always sound right on strong beats.
Over A#m, 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.
When C 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

The first chord is C; the ear learns where home is within a second. The backbone is C, A#m, C#, D# — III–ii–IV–V from the Ab side, V–iv–VI–VII from the Fm side. C is the interesting twist: in Ab it is a chromatic chord (III), while in Fm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on A#m → C (ii → III in Ab, iv → V in Fm): iv → V — the minor side's tension builder. The final chord is C; the ear comes to rest in Ab.

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.