Hande Ünsal - Benden Sonra - Chord

Key C major – A minor Chords Em7, Dm7, Cmaj7, F Difficulty already in its easiest key

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Capo 0

F                      Cmaj7  Dm7  Em7
  Dedim ya benden önce ben    den  sonra

Em7  Dm7  Dm7  Em7

Em7                 Dm7             Em7
Beni unutamaz ruhun, kabul et ben ettim bak
                Dm7              Em7
Anlamıyor musun, başkası yok olmayacak

Dm7
Gel bak, burada su berrak
        Em7
Çok şey var konuşacak
Dm7
Bazen bir şey bitmiyorsa
   Em7              Dm7  Em7
Yarımdır tamamlanacaaaaaaaak

Em7                Dm7
Bir iz bıraktın anca

Sonra kaybolup gittin
                    Em7
Savrulup duruyorsun orada burada
                   Dm7
Kimseler biz olmaz, sen önce bunu anla
                     Cmaj7  Dm7  Em7
Dedim ya benden önce ben    den  sonra

Em7                Dm7
Bir iz bıraktın anca

Sonra kaybolup gittin
                    Em7
Savrulup duruyorsun orada burada
                   Dm7
Kimseler ben olmaz, sen önce bunu anla
                     Cmaj7  Dm7  Em7
Dedim ya benden önce ben    den  sonra

Em7  Dm7  Dm7  Em7
x2

End of song Play again?

Hande Ünsal - Benden Sonra Tabs

NotesX

Harmony analysis

Hande Ünsal – Benden Sonra: key and chord analysis

The song opens on F and ends on Em7. 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 C major side because C is heard 3 times while Am never appears. That is an interpretation, not a rule — hearing the same chords from A minor is just as valid and teaches you something different.

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	3×
ii7	Dm7	Supertonic — prepares the dominant	D · F · A · C	16×
iii7	Em7	Mediant — a tonic-family shade	E · G · B · D	17×
III	E	Chromatic colour chordoutside the key	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	1×
V	G	Dominant — strongest pull home	G · B · D	—
vi	Am	Relative minor — the melancholy side	A · C · E	—
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	—
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
IIImaj7	Cmaj7	Relative major — the bright side	C · E · G · B	3×
iv7	Dm7	Subdominant — moves away from home	D · F · A · C	16×
v7	Em7	Minor dominant — soft pull	E · G · B · D	17×
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	—

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 37 times in total; 4 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

F Cmaj7 CIV → Imaj7plagal cadence AmVI → IIImaj7 ×1

The move to watch is F → Cmaj7, heard once. From the C side it reads IV → Imaj7 (plagal cadence: the soft 'amen' ending); from the Am side it is VI → IIImaj7. 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 Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
Over Dm7, land on D, F, A — 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.

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

The first chord is F; the ear learns where home is within a second. The chords that keep coming back are Em7, Dm7, Cmaj7, F; read them as iii7–ii7–Imaj7–IV in C or v7–iv7–IIImaj7–VI in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → Cmaj7 (IV → Imaj7 in C, VI → IIImaj7 in Am): plagal cadence — the soft 'amen' ending. Ending on Em7, 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.