Paptircem - Beni Yanlış Bırak - Chord

Key C major – A minor Chords Fmaj7, E7, Am, Cmaj7 Difficulty already in its easiest key

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Capo 0

   Fmaj7
Nerden bilecektim
    E7                      Am
Büyüdükçe hayallerim küçülürmüş
        Cmaj7
Ne kötüymüş
   Fmaj7
Kimse söylemedi
  E7                         Am
Aslında heveslerim çok gülünçmüş
        Cmaj7
Ne komikmiş

  Fmaj7
Derinliklerimden doğan
   E7
Sevgi dedikleri
        Am          Cmaj7
Aslında bir kördüğümmüş

    Fmaj7
Bir zamanlar sevdiklerim
E7                    Am
Sadece gözümde büyütülmüş
         Cmaj7
Böyle sürsün, gitsin

  Fmaj7  E7       Am        Cmaj7
Beni yalnız, sevgisiz, cevapsız bırak
     Fmaj7  E7
Kendime zararım, boşver
  Am    Cmaj7         Fmaj7
Beni yanlış bırak, gitsin 

Fmaj7  E7  Am  Cmaj7

Fmaj7
İyi olmak için 
   E7                    Am
Kalbim yeter diye düşünürdüm
        Cmaj7
Ne çocukça 

   Fmaj7
Sonsuz sandıklarım
E7                      Am
Ben fark etmeden bitivermiş
         Cmaj7
Bi’ solukta

Fmaj7
Eskiden koşup duran
  E7
Küçük ayaklarım
        Am          Cmaj7
Şimdi yere basmaz olmuş

Fmaj7
Üstelik tüm olanlar
E7                Am
Sadece kendi suçummuş
            Cmaj7
Öyle olsun, bitsin.

  Fmaj7  E7       Am        Cmaj7
Beni yalnız, sevgisiz, cevapsız bırak
     Fmaj7  E7
Kendime zararım, boşver
  Am    Cmaj7         Fmaj7
Beni yanlış bırak, gitsin

End of song Play again?

Paptircem - Beni Yanlış Bırak Tabs

NotesX

Harmony analysis

Paptircem – Beni Yanlış Bırak: key and chord analysis

The song opens on Fmaj7 and ends on Fmaj7. 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)
#7 = G# (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 A minor side because the major V chord points straight at Am. 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
Imaj7	Cmaj7	Tonic — home	C · E · G · B	13×
ii	Dm	Supertonic — prepares the dominant	D · F · A	—
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V7/vi	E7	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B · D	13×
IVmaj7	Fmaj7	Subdominant — moves away from home	F · A · C · E	15×
V	G	Dominant — strongest pull home	G · B · D	—
vi	Am	Relative minor — the melancholy side	A · C · E	13×
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	13×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
IIImaj7	Cmaj7	Relative major — the bright side	C · E · G · B	13×
iv	Dm	Subdominant — moves away from home	D · F · A	—
v	Em	Minor dominant — soft pull	E · G · B	—
V7	E7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B · D	13×
VImaj7	Fmaj7	Submediant — warm colour	F · A · C · E	15×
VII	G	Subtonic — steps back to the tonic	G · B · D	—

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 54 times in total; 3 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E7 is V7/vi, a secondary dominant heading for Am.

Chord movement

E7 Am CV7/vi → visecondary resolution AmV7 → iharmonic-minor cadence ×13

The move to watch is E7 → Am, heard 13 times. From the Am side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the C side it reads V7/vi → vi (secondary resolution: E7 resolves a fourth up to Am). 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 Fmaj7, land on F, A, C — the chord's own tones always sound right on strong beats.
Over E7, land on E, G#, B — 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.
When E7 comes, swap the scale's G for G#: 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 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

The song is already written in its easiest key for guitar.

The song's harmonic story

Starting on Fmaj7, the song gives away its key from the very first bar. The chords that keep coming back are Fmaj7, E7, Am, Cmaj7; read them as IVmaj7–V7/vi–vi–Imaj7 in C or VImaj7–V7–i–IIImaj7 in Am. E7 is the interesting twist: in C it is a chromatic chord (V7/vi), while in Am it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on E7 → Am (V7/vi → vi in C, V7 → i in Am): harmonic-minor cadence — the major V resolves dramatically. The final chord is Fmaj7; the ear comes to rest in C.

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.