Sezen Aksu - Beni Unutma - Chord

Key Eb major – C minor Chords Cm, Fm, Gm, Bb, Bm, Dm, G#, G … Easy key C (capo 3)

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Capo 0

Cm   Gm   Fm   Gm

Cm                      Fm
Bir gün daha yaşandı ve bitti
Bb                Cm
Küçük sevinçleri ve küçük kederleriyle
Fm              Bb       Gm     Cm
Herhangi bir gündü çok önemli değildi
Fm               G#          G
Seni düşündüğüm birkaç andan başka

Cm                       Fm
Bilirim herkes payına düşeni yaşar
Bb                       Cm
Ve her yeni günde değişir hep birşeyler
Fm             Bb         Gm       Cm
Sen de kendi payından bir hatıra seç ne olur
Fm             G#     G
O ben olayım beni unutma

Em                   Bm
Beni unutma, unutma, beni unutma
Am                   Bm
Bilirsin unutulmak dokunurya her insana
Em                        Bm
Sen de kendi payından bir hatıra seç
Am                   Bm
Ve o ben olayım unutma, beni unutma

Cm                        Fm
Bilir misin seni gerçekten sevdim
Bb                    Cm
Sevdiğim daha bir çok şeyin arasında
Fm               Bb         Gm      Cm
Bir tek seni seçtim hatıralar arasında
Fm               G#        G
Sebep diye bir küçük mutluluk

Gm                    Dm
Beni unutma, unutma, beni unutma
Cm                   Dm
Bilirsin unutulmak dokunurya her insana
Gm                        Dm
Sen de kendi payından bir hatıra seç
Cm                   Dm
Ve o ben olayım unutma, beni unutma

End of song Play again?

Sezen Aksu - Beni Unutma Tabs

NotesX

Harmony analysis

Sezen Aksu – Beni Unutma: key and chord analysis

The song opens on Cm and ends on Dm. Its chords belong to both Eb major and Cm, so every chord below is read both ways.

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)

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (natural-minor colour)
#7 = B (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 C minor side because it opens on Cm, Cm is heard 12 times while Eb never appears and the major V chord points straight at Cm. 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.

Seen from Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	—
bii	Em	Chromatic colour chordoutside the key	E · G · B	2×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	10×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	7×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	3×
IV	G#	Subdominant — moves away from home	G# · B# · D#	3×
#iv	Am	Chromatic colour chordoutside the key	A · C · E	2×
V	Bb	Dominant — strongest pull home	Bb · D · F	6×
bvi	Bm	Chromatic colour chordoutside the key	B · D · F#	4×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	12×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—
vii	Dm	Chromatic colour chordoutside the key	D · F · A	4×

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	12×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
ii	Dm	Chromatic colour chordoutside the key	D · F · A	4×
III	Eb	Relative major — the bright side	Eb · G · Bb	—
#iii	Em	Chromatic colour chordoutside the key	E · G · B	2×
iv	Fm	Subdominant — moves away from home	F · Ab · C	10×
v	Gm	Minor dominant — soft pull	G · Bb · D	7×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	3×
VI	G#	Submediant — warm colour	G# · B# · D#	3×
#vi	Am	Chromatic colour chordoutside the key	A · C · E	2×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	6×
#vii	Bm	Chromatic colour chordoutside the key	B · D · F#	4×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 10 different chords appear 53 times in total; 5 of them sit naturally inside the shared scale. The major V of Cm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Eb, the same G is V/vi, a secondary dominant heading for Cm. Bm, Dm, Em, Am step outside the scale as colour chords.

Chord movement

Fm Bb Ebii → Vii → V Cmiv → VII ×6
Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×4
Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×3
G Cm EbV/vi → vi CmV → iharmonic-minor cadence ×1

The move to watch is Fm → Bb, heard 6 times. From the Cm side it is iv → VII; from the Eb side it reads ii → V (ii → V: the classic preparation of the dominant). 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 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.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
When G comes, swap the scale's Bb for B: 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 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

The first chord is Cm; the ear learns where home is within a second. Cm, Fm, Gm, Bb carry the song: vi–ii–iii–V relative to Eb, i–iv–v–VII relative to Cm. G is the interesting twist: in Eb it is a chromatic chord (V/vi), while in Cm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Fm → Bb (ii → V in Eb, iv → VII in Cm): ii → V — the classic preparation of the dominant. Ending on Dm, 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.