Major view
Eb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D (leading tone, pulls home)
- 4 = Ab (the note that leans on the 3rd)
Cihan Mürtezaoğlu - Sen Banasın - Chord
Key Eb major – C minor Chords Gm, Cm, Fm Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Cm Gm Fm Gm
Cm Fm Gm
Kara kara zehir gibi delirtir aşk beni, bu defa başka
Cm Fm Gm
Yedi sekiz dokuz kere diriltti aşk beni, bu defa başka
Cm Gm Cm Gm Cm
Beyaz kelebek bulsun da seni, söyler belki kaderi
Gm Cm Gm
Varsın yansın bu şehir kül olsun
Cm Gm Fm Gm
Cm Fm Gm
Kuru sıkı silah gibi o esmerin teni, bu defa başka
Cm Fm Gm
Dilimdeki küfür gibi fısıldar o beni, bu defa başka
Cm Gm Cm
Benden fazla seven bulsun ya seni
Gm Cm Gm
Isıtsın sarsın sebebim bende kalsın
Cm Gm
Ama sen banasın
Cm Gm
Kim var kalbini yere serip
Cm Gm
Kim var gönlünü eğleyip
Cm Gm Fm
Kim var gökleri şen edecek
Cm
Ben burdayım işte
Cm Gm Cm Gm
E ee ee oo
Cm Gm Cm Gm
O oo oo oo
Cm Gm Cm Gm
A aa aa aa
Cm Gm Cm Gm
O oo oo oo
End of song Play again?
Cihan Mürtezaoğlu - Sen Banasın Tabs
NotesX
Harmony analysis
Cihan Mürtezaoğlu – Sen Banasın: key and chord analysis
The song opens on Cm and ends on Gm. Its chords belong to both Eb major and Cm, so every chord below is read both ways.
Minor view
C minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Ab (the minor's melancholy)
- b7 = Bb (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the C minor side because it opens on Cm and Cm is heard 26 times while Eb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 |
|---|---|---|---|---|
| I | Eb | Tonic — home | Eb · G · Bb | — |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 7× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | 27× |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | — |
| V | Bb | Dominant — strongest pull home | Bb · D · F | — |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 26× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 26× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | — |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 7× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | 27× |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | — |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | — |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 3 different chords appear 60 times in total; 3 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
- Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×23
- Fm Cm Ebii → vi Cmiv → iminor plagal ×1
The move to watch is Gm → Cm, heard 23 times. From the Cm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Eb side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Fm, land on F, Ab, C — 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 Eb major shapes
- Capo 1 + D shapes
- Capo 3 + C shapes
- Capo 6 + A shapes
With C minor shapes
- Capo 3 + Am shapes
Easiest keys on guitar
- 3 semitones down · capo 3 keeps the original pitch
- 2 semitones up
The song's harmonic story
Starting on Cm, the song gives away its key from the very first bar. Gm, Cm, Fm carry the song: iii–vi–ii relative to Eb, v–i–iv relative to Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → Cm (iii → vi in Eb, v → i in Cm): natural-minor cadence — gentle, modal arrival. Ending on Gm, the song seals Eb 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.
Cihan Mürtezaoğlu - Sen Banasın 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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