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)
Melike Şahin - Beni Anlama - Chord
Key G major – E minor Chords Em7, B7, Cmaj7, Am7, E, F#m7, D#dim, Dmaj7 … Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em7 Am7
Beni sev de, sev de anlama
Cmaj7 B7
Dokun, hisset, ne olur sorgulama
Em7 Am7
Sakın, yok, sakın beni yargılama
Cmaj7 B7
Yapma, değiştirmeye çalışma
G#m7 Gmaj7
Ah vazgeçme
C#m7 Cmaj7
Arzula, sev, okşa beni
E
Üzme, ne olur üzme
Em7 D#dim
Ele geçirmeye çalışma hiç böyle beni
B7 Em7
Sen bana, ben sana benzersek ne olur
D#dim
Nasıl dayanır ki aşk bu kadar aynılığa
B7 Em7
Beni neden sevdiğini hatırla ne olur
Am B7 E
O ilk günler nasıl da aşkla sevişirdik
Em7 Cmaj7 Am7
Aşk incelik ister canım, hoyrat olma
B7 Em7
Beni böyle sev, değiştirme, boşver anlama
Cmaj7 Am7
Bir güç savaşı değil bu, kendi haline bırak
B7 Em7
Galibi yoktur ki hiç, aşk bu unutma
D Cmaj7
Aşk bu, aşk olacak
B7 E
Sen izin verirsen yaşanacak
F#m7 Dmaj7 Bm7
Aşk incelik ister canım, hoyrat olma
C#7 F#m7
Beni böyle sev, değiştirme, boşver anlama
Dmaj7 Bm7
Bir güç savaşı değil bu, kendi haline bırak
C#7 F#m7
Galibi yoktur ki hiç, aşk bu unutma
End of song Play again?
Melike Şahin - Beni Anlama Tabs
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Harmony analysis
Melike Şahin – Beni Anlama: key and chord analysis
The song opens on Em7 and ends on F#m7. Its chords belong to both G major and Em, so every chord below is read both ways.
Minor view
E minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = C (the minor's melancholy)
- b7 = D (natural-minor colour)
- #7 = D# (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 E minor side because it opens on Em, Em is heard 8 times against 1 for G and the major V chord points straight at Em. That is an interpretation, not a rule — the same chords are just as valid seen from G 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 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| Imaj7 | Gmaj7 | Tonic — home | G · B · D · F# | 1× |
| bii7 | G#m7 | Chromatic colour chordoutside the key | G# · B · D# · F# | 1× |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 4× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 1× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 2× |
| V7/vi | B7 | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# · A | 8× |
| IVmaj7 | Cmaj7 | Subdominant — moves away from home | C · E · G · B | 6× |
| #IV7 | C#7 | Chromatic colour chordoutside the key | C# · E# · G# · B | 2× |
| #iv7 | C#m7 | Chromatic colour chordoutside the key | C# · E · G# · B | 1× |
| V | D | Dominant — strongest pull home | D · F# · A | 1× |
| Vmaj7 | Dmaj7 | Chromatic colour chordoutside the key | D · F# · A · C# | 2× |
| vii°/vi | D#dim | Secondary leading-tone chord vii°/vi — leads to Emsecondary dominant | D# · F# · A | 2× |
| vi7 | Em7 | Relative minor — the melancholy side | E · G · B · D | 8× |
| V/ii | E | Secondary dominant V/ii — leads to Amsecondary dominant | E · G# · B | 3× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| vii7 | F#m7 | Chromatic colour chordoutside the key | F# · A · C# · E | 3× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Em7 | Tonic — home | E · G · B · D | 8× |
| V/iv | E | Secondary dominant V/iv — leads to Amsecondary dominant | E · G# · B | 3× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| ii7 | F#m7 | Chromatic colour chordoutside the key | F# · A · C# · E | 3× |
| IIImaj7 | Gmaj7 | Relative major — the bright side | G · B · D · F# | 1× |
| #iii7 | G#m7 | Chromatic colour chordoutside the key | G# · B · D# · F# | 1× |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 4× |
| iv | Am | Subdominant — moves away from home | A · C · E | 1× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 2× |
| V7 | B7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# · A | 8× |
| VImaj7 | Cmaj7 | Submediant — warm colour | C · E · G · B | 6× |
| #VI7 | C#7 | Chromatic colour chordoutside the key | C# · E# · G# · B | 2× |
| #vi7 | C#m7 | Chromatic colour chordoutside the key | C# · E · G# · B | 1× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 1× |
| V/III | Dmaj7 | Secondary dominant V/III — leads to Gsecondary dominant | D · F# · A · C# | 2× |
| #vii° | D#dim | Leading-tone chord (harmonic minor)harmonic minor | D# · F# · A | 2× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 15 different chords appear 45 times in total; 7 of them sit naturally inside the shared scale. The major V of Em brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from G, the same B7 / D#dim is V7/vi, a secondary dominant heading for Em. E, Dmaj7 act as secondary dominants, briefly pointing at another chord of the key.
Chord movement
- B7 Em7 GV7/vi → vi7secondary resolution EmV7 → i7harmonic-minor cadence ×5
- B7 E GV7/vi → V/iisecondary resolution EmV7 → V/iv ×2
- Am7 B7 Gii7 → V7/vi Emiv7 → V7iv → V ×2
- C#7 F#m7 G#IV7 → vii7secondary resolution Em#VI7 → ii7 ×2
- Am B7 Gii → V7/vi Emiv → V7iv → V ×1
The move to watch is B7 → Em7, heard 5 times. From the Em side it is V7 → i7 (harmonic-minor cadence: the major V resolves dramatically); from the G side it reads V7/vi → vi7 (secondary resolution: B7 resolves a fourth up to Em7). 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 Em7, 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 Cmaj7, land on C, E, G — the chord's own tones always sound right on strong beats.
- When B7 comes, swap the scale's D for D#: 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 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
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The first chord is Em7; the ear learns where home is within a second. The backbone is Em7, B7, Cmaj7, Am7 — vi7–V7/vi–IVmaj7–ii7 from the G side, i7–V7–VImaj7–iv7 from the Em side. B7 is the interesting twist: in G it is a chromatic chord (V7/vi), while in Em it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on B7 → Em7 (V7/vi → vi7 in G, V7 → i7 in Em): harmonic-minor cadence — the major V resolves dramatically. It closes on F#m7, 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.
Melike Şahin - Beni Anlama Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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Lyrics: Pakize BarıştaMusic: Ozan Çolakoğlu
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