Athena - Ben Böyleyim - Chord

Key E major – C# minor Chords E, A, E7, B, F#m, C#7, F#mmaj7, B7 … Easy key G

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Capo 0

E         E7              E              C#7
Hayat bu kadar mı bence değil bir kaç sözüm var
F#m   F#mmaj7       A      B7         E
Biraz senin gibi  yıkılmayan duvarları var
E            E7           A         Am
Bazen resimsindir bazen uzak yakınlarım var
E            B7          A   E
Ben ben böyleyim kendi yolumda


E           Emaj7       E7             C#7
Bırak tutma beni kaybetsem de üzülmem asla
F#m    F#mmaj7      A           B            E
Ne boş kaygılarım korkma bana hiçbirşey olmaz
E            E7            A             Am
Yanlış doğru gibi eksik kalan bir kaç satırsa
     E           B        A    E
Ve ben ben böyleyim kendi yolumda

E               E7            A
Hayat benim her anımı yaşadıkça sevesim var
     F#7             B          G#m          C#m7
Aldırmam hiç yağmurlara benim güzel hatalarım var
       F#m        B             A   E
Biran bile vazgeçmedim kendi yolumdan

E              Emaj7          E7          C#7
Değer saklanma hiç geçer zaman böylede geçer
F#m     F#mmaj7            A      B       E
Yazık ister vazgeç beklentiler sadece üzer
E           E7            A         Am
Ayrı dünyalarda farklı farklı kafalarda
E              B7          A   E
Ve ben ben böyleyim kendi yolumda

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Athena - Ben Böyleyim Tabs

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Harmony analysis

Athena – Ben Böyleyim: key and chord analysis

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

Major view

E major

Brightness rank 2/7 (bright)

Characteristic notes

7 = D# (leading tone, pulls home)
4 = A (the note that leans on the 3rd)

Minor view

C# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = A (the minor's melancholy)
b7 = B (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the E major side because it both starts and finishes on E and E is heard 27 times against 1 for C#m. That is an interpretation, not a rule — hearing the same chords from C# minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to E or to C#m; 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 E major
Degree	Chord	Role	Notes	In song
I	E	Tonic — home	E · G# · B	18×
Imaj7	Emaj7	Tonic — home	E · G# · B · D#	2×
V7/IV	E7	Secondary dominant V/IV — leads to Asecondary dominant	E · G# · B · D	7×
ii	F#m	Supertonic — prepares the dominant	F# · A · C#	4×
iimaj7	F#mmaj7	Chromatic colour chordoutside the key	F# · A · C# · E#	3×
V7/V	F#7	Secondary dominant V/V — leads to Bsecondary dominant	F# · A# · C# · E	1×
iii	G#m	Mediant — a tonic-family shade	G# · B · D#	1×
V/vi	G#	Secondary dominant V/vi — leads to C#msecondary dominant	G# · B# · D#	—
IV	A	Subdominant — moves away from home	A · C# · E	11×
iv	Am	Minor iv — borrowed from the parallel minorborrowed chord	A · C · E	3×
V	B	Dominant — strongest pull home	B · D# · F#	5×
V7	B7	Dominant — strongest pull home	B · D# · F# · A	3×
vi7	C#m7	Relative minor — the melancholy side	C# · E · G# · B	1×
V7/ii	C#7	Secondary dominant V/ii — leads to F#msecondary dominant	C# · E# · G# · B	3×
vii°	D#dim	Leading-tone chord — tension	D# · F# · A	—

Seen from C# minor
Degree	Chord	Role	Notes	In song
i7	C#m7	Tonic — home	C# · E · G# · B	1×
V7/iv	C#7	Secondary dominant V/iv — leads to F#msecondary dominant	C# · E# · G# · B	3×
ii°	D#dim	Supertonic — prepares the dominant	D# · F# · A	—
III	E	Relative major — the bright side	E · G# · B	18×
IIImaj7	Emaj7	Relative major — the bright side	E · G# · B · D#	2×
V7/VI	E7	Secondary dominant V/VI — leads to Asecondary dominant	E · G# · B · D	7×
iv	F#m	Subdominant — moves away from home	F# · A · C#	4×
ivmaj7	F#mmaj7	Chromatic colour chordoutside the key	F# · A · C# · E#	3×
IV7	F#7	Major IV — Dorian / melodic-minor colourmodal colour	F# · A# · C# · E	1×
v	G#m	Minor dominant — soft pull	G# · B · D#	1×
V	G#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G# · B# · D#	—
VI	A	Submediant — warm colour	A · C# · E	11×
vi	Am	Chromatic colour chordoutside the key	A · C · E	3×
VII	B	Subtonic — steps back to the tonic	B · D# · F#	5×
VII7	B7	Subtonic — steps back to the tonic	B · D# · F# · A	3×

Analysis

The key pair is E major and its relative C# minor (4 sharps). 13 different chords appear 62 times in total; 8 of them sit naturally inside the shared scale. E7, C#7, F#7 act as secondary dominants, briefly pointing at another chord of the key. Am is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

A E EIV → Iplagal cadence C#mVI → III ×4
E7 A EV7/IV → IVsecondary resolution C#mV7/VI → VI ×4
Am E Eiv → Iminor plagal C#mvi → III ×3
C#7 F#m EV7/ii → iisecondary resolution C#mV7/iv → iv ×3
B E EV → Iauthentic cadence C#mVII → III ×2
A B EIV → VIV → V C#mVI → VIIVI → VII ×2

The move to watch is A → E, heard 4 times. From the E side it reads IV → I (plagal cadence: the soft 'amen' ending); from the C#m side it is VI → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

E major pentatonic and C# minor pentatonic are the same five notes (E – F# – G# – B – C#): start from E for a brighter phrase, from C# for a bluesier one.
Over E, land on E, G#, B — the chord's own tones always sound right on strong beats.
Over A, land on A, C#, E — 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.
On Am, follow the chord's notes (A · C · E) rather than the key's scale — it's a borrowed colour.

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 E major shapes

No capo — open E shapes
Capo 2 + D shapes
Capo 4 + C shapes

With C# minor shapes

Capo 4 + Am shapes

Easiest keys on guitar

3 semitones up
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

The first chord is E; the ear learns where home is within a second. The chords that keep coming back are E, A, E7, B; read them as I–IV–V7/IV–V in E or III–VI–V7/VI–VII in C#m. E7 adds a moment of surprise: secondary dominant V/IV — leads to A. Keep an ear on A → E (IV → I in E, VI → III in C#m): plagal cadence — the soft 'amen' ending. Ending on E, the song seals E 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.