Eda Baba - Beni Vur - Chord

Key Db major – Bb minor Chords Cm, G, Fm, C, Bb, Eb, Ab Easy key Bb (capo 3)

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Capo 0

Cm   G   Cm   G   Fm   Cm  G   Cm

Cm                    Fm         G
Bir ince pusudayım yolumun üstü engerek
                           Fm         Cm
Bir garip akşamdayım sırtımı gözler tüfek
                      Fm        G
Ben senin sokağına ulaşamam dardayım
                      Fm         Cm
O mazlum gözlerine bakamam firardayım

C                  Fm
Oysa ben bu gece yüreğim elimde
Bb                Eb
Sana bir sırrımı söyleyecektim
Ab               Fm
Şu mermi içimi delmeseydi eğer
G                     
Seni alıp götürecektim

Cm                     G
Beni vur beni onlara verme
Cm                     G
Külümü al uzak yollara savur                     
Fm         G            Cm              
Dağılsın dağlara dağılsın bu sevdamız   
G                 Cm                  
Ama sen ağlama dur   
      

Cm                       Fm         G
Bir ince pusudayım bu gece zehir zemberek
                      Fm          Cm
Bir yolun sonundayım sessizce tükenerek
                   Fm        G
Ah senin ellerine uzanamam yerdeyim
                     Fm          Cm
O masum hayallere varamam ölmekteyim

End of song Play again?

Eda Baba - Beni Vur Tabs

NotesX

Harmony analysis

Eda Baba – Beni Vur: key and chord analysis

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

Major view

Db major

Brightness rank 2/7 (bright)

Characteristic notes

7 = C (leading tone, pulls home)
4 = Gb (the note that leans on the 3rd)

Minor view

Bb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Gb (the minor's melancholy)
b7 = Ab (natural-minor colour)

Which side does the ear lean to?

Our reading: we can't honestly pick a side here — the song moves freely between Db major and Bb minor. Try reading the chords both ways and see which feels more like home to you.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to Db or to Bbm; 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 Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	—
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	—
V/V	Eb	Secondary dominant V/V — leads to Absecondary dominant	Eb · G · Bb	1×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	12×
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	—
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	—
#IV	G	Chromatic colour chordoutside the key	G · B · D	12×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	1×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	—
V/ii	Bb	Secondary dominant V/ii — leads to Ebmsecondary dominant	Bb · D · F	1×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—
vii	Cm	Chromatic colour chordoutside the key	C · Eb · G	14×
V/iii	C	Secondary dominant V/iii — leads to Fmsecondary dominant	C · E · G	1×

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	—
V/iv	Bb	Secondary dominant V/iv — leads to Ebmsecondary dominant	Bb · D · F	1×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
ii	Cm	Chromatic colour chordoutside the key	C · Eb · G	14×
V/v	C	Secondary dominant V/v — leads to Fmsecondary dominant	C · E · G	1×
III	Db	Relative major — the bright side	Db · F · Ab	—
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	—
IV	Eb	Major IV — Dorian / melodic-minor colourmodal colour	Eb · G · Bb	1×
v	Fm	Minor dominant — soft pull	F · Ab · C	12×
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	—
VI	Gb	Submediant — warm colour	Gb · Bb · Db	—
#VI	G	Chromatic colour chordoutside the key	G · B · D	12×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	1×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 7 different chords appear 42 times in total; 2 of them sit naturally inside the shared scale. C, Bb, Eb act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

Improvisation tips

Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over G, land on G, B, D — 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 Db major shapes

Capo 1 + C shapes
Capo 4 + A shapes
Capo 6 + G shapes

With Bb minor shapes

Capo 1 + Am shapes
Capo 6 + Em shapes

Easiest keys on guitar

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

The song's harmonic story

Starting on Cm, the song gives away its key from the very first bar. Cm, G, Fm, C carry the song: vii–#IV–iii–V/iii relative to Db, ii–#VI–v–V/v relative to Bbm. C adds a moment of surprise: secondary dominant V/iii — leads to Fm. It closes on Cm, letting the Db side have the last word.

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.