Gülşen - En Sevdiğim Yanlışım - Chord

Key F major – D minor Chords Am7, Gm7, Bbmaj7, Dm7, Fmaj7 Easy key C (capo 5)

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Capo 0

Am7  Gm7  Gm7     Am7
Am7  Gm7  Bbmaj7  Am7

Am7                   Gm7
İzin vermez aşk her belaya
                    Am7
Göndermez duaları semaya
                          Gm7
Gördüğüm en güzel baş belasıydın
Bbmaj7                  Am7
 Ve bir o kadar uzak sevdaya

     Gm7             Am7
Acımıyor içim her şey kader
   Gm7                   Am7
Duydum seviyormuşsun birini büyük haber

Dm7
 Ben de yalnız değilim elbet
Am7
 Titriyor birileri üzerime
Dm7
 O kadar da olsun ne günler
Am7
 Ne güller solup gitti güme

Gm7
 Hepsi hataymış ne safmışım
Bbmaj7
 Bitirmekle ne iyi yapmışım
Am7
 Yalan da yakışmıyor dilime
Fmaj7                Gm7  Am7
 Sen hala en sevdiğim yaaanlışım

Am7  Gm7  Gm7     Am7
Am7  Gm7  Bbmaj7  Am7

Am7                   Gm7
Kapkaraydı gözlerin misali
                       Am7
Geçmezdi zaman zuldü yaşamak
                          Gm7
Ah bir diyebilsem insanlık hali
Bbmaj7                    Am7
 Sana adanan aşk topyekün israf

End of song Play again?

Gülşen - En Sevdiğim Yanlışım Tabs

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Harmony analysis

Gülşen – En Sevdiğim Yanlışım: key and chord analysis

The song opens on Am7 and ends on Am7. Its chords belong to both F major and Dm, so every chord below is read both ways.

Major view

F major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the D minor side because Dm is heard 2 times against 1 for F. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 F major
Degree	Chord	Role	Notes	In song
Imaj7	Fmaj7	Tonic — home	F · A · C · E	1×
ii7	Gm7	Supertonic — prepares the dominant	G · Bb · D · F	14×
iii7	Am7	Mediant — a tonic-family shade	A · C · E · G	20×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IVmaj7	Bbmaj7	Subdominant — moves away from home	Bb · D · F · A	5×
V	C	Dominant — strongest pull home	C · E · G	—
vi7	Dm7	Relative minor — the melancholy side	D · F · A · C	2×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i7	Dm7	Tonic — home	D · F · A · C	2×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
IIImaj7	Fmaj7	Relative major — the bright side	F · A · C · E	1×
iv7	Gm7	Subdominant — moves away from home	G · Bb · D · F	14×
v7	Am7	Minor dominant — soft pull	A · C · E · G	20×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VImaj7	Bbmaj7	Submediant — warm colour	Bb · D · F · A	5×
VII	C	Subtonic — steps back to the tonic	C · E · G	—

Analysis

The key pair is F major and its relative D minor (1 flat). 5 different chords appear 42 times in total; 5 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

Am7 Dm7 Fiii7 → vi7 Dmv7 → i7natural-minor cadence ×2

The move to watch is Am7 → Dm7, heard 2 times. From the Dm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the F side it reads iii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
Over Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Gm7, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Bbmaj7, land on Bb, D, F — 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 F major shapes

Capo 1 + E shapes
Capo 3 + D shapes
Capo 5 + C shapes

With D minor shapes

No capo — open Dm shapes
Capo 5 + Am shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch
2 semitones up

The song's harmonic story

The first chord is Am7; the ear learns where home is within a second. The chords that keep coming back are Am7, Gm7, Bbmaj7, Dm7; read them as iii7–ii7–IVmaj7–vi7 in F or v7–iv7–VImaj7–i7 in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am7 → Dm7 (iii7 → vi7 in F, v7 → i7 in Dm): natural-minor cadence — gentle, modal arrival. Ending on Am7, the song seals F 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.