Tuğçe Kandemir - Seni Öptüğüm Sokak (Eypio) - Chord

Key A major – F# minor Chords C#m7, F#m7, Bm7, Dmaj7 Easy key C

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Capo 0

F#m7       C#m7          Bm7  C#m7  Dmaj7  C#m7  Bm7  C#m7
  Seni öptüğüm sokak var ya
F#m7        C#m7            Bm7          C#m7
 Hani bende bir izdin, başkasında hiçtin, öyle derdin
F#m7     C#m7        Bm7     C#m7
 Hani bitmezdi mutlu sonlar, gizlenmezdi
F#m7       C#m7           Bm7           C#m7
 Hani bende başlayan başkasında kolay kolay bitmezdi
F#m7  C#m7       Bm7    C#m7
 Ahımı aldın, gelsen de affetmezdim

F#m7   C#m7           Bm7         C#m7
 Bugün varım, yarınım yok, yaptım elden geleni
F#m7      C#m7          Bm7
 Seni öptüğüm sokak var ya
C#m7         F#m7  C#m7  Bm7
 Oraya gömsünler beni, ahhh
C#m7         F#m7  C#m7  Bm7  C#m7        F#m7
 Oraya gömsünler beni, ahhhh, oraya gömsünler

F#m7                 C#m7
 Fermanı yazıp yerin ayrı
       Bm7       C#m7
 Kalem aynı, kağıdı doldur yerime
F#m7                C#m7        Bm7
 Ağlıyo' benim sözüm ayrı, gözüm ayrı
     C#m7
 Kaderi doldur yerime

F#m7
Bu tekleyen birinin kalbi değil
C#m7
Kardiyologları aldı rehin
Bm7
İçince yalnız hep küfelik
C#m7
Bilirsin beni, ben tek tüfeğim
F#m7
Döndürür allah yer küreyi
C#m7
Dağladı, aşkladı her yüreği
Bm7
İçimde koptu bu fırtınalar
C#m7
Titanik battı, sen çek küreği

F#m7
Çek çileyi, gözünde gördüm mucizeyi, mevzu derin
C#m7
Şahsına yazdığım her dizeyi

Ya kabul et ya da beni sal gideyim
Bm7
Harbi diyeyim, kalbindekine hasar mı diyeyim
                     C#m7
Bu kâr da değil ki zarar mı diyeyim

Dönme geri, çünkü o sokaklar aynı değil

F#m7       C#m7            Bm7          C#m7
 Hani bende başlayan tek başına kolay kolay bitmezdi
F#m7  C#m7       Bm7    C#m7
 Ahımı aldın, gelsen de affetmezdim

F#m7   C#m7           Bm7         C#m7
 Bugün varım, yarınım yok, yaptım elden geleni
F#m7      C#m7          Bm7
 Seni öptüğüm sokak var ya
C#m7         F#m7  C#m7
 Oraya gömsünler beni
          Bm7  C#m7          F#m7  C#m7  Bm7
 Seni öptüğüm   sokağa gömsünler, ahahahahahahahah
C#m7         F#m7  C#m7  Bm7
 Oraya gömsünler beni, ahhh
 
Öldürsünler

End of song Play again?

Tuğçe Kandemir - Seni Öptüğüm Sokak (Eypio) Tabs

NotesX

Harmony analysis

Tuğçe Kandemir – Seni Öptüğüm Sokak (Eypio): key and chord analysis

The song opens on F#m7 and ends on Bm7. Its chords belong to both A major and F#m, so every chord below is read both ways.

Major view

A major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

F# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = D (the minor's melancholy)
b7 = E (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the F# minor side because it opens on F#m and F#m is heard 22 times while A never appears. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 A or to F#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 A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	—
ii7	Bm7	Supertonic — prepares the dominant	B · D · F# · A	22×
iii7	C#m7	Mediant — a tonic-family shade	C# · E · G# · B	43×
V/vi	C#	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G#	—
IVmaj7	Dmaj7	Subdominant — moves away from home	D · F# · A · C#	1×
V	E	Dominant — strongest pull home	E · G# · B	—
vi7	F#m7	Relative minor — the melancholy side	F# · A · C# · E	22×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i7	F#m7	Tonic — home	F# · A · C# · E	22×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	—
iv7	Bm7	Subdominant — moves away from home	B · D · F# · A	22×
v7	C#m7	Minor dominant — soft pull	C# · E · G# · B	43×
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VImaj7	Dmaj7	Submediant — warm colour	D · F# · A · C#	1×
VII	E	Subtonic — steps back to the tonic	E · G# · B	—

Analysis

The key pair is A major and its relative F# minor (3 sharps). 4 different chords appear 88 times in total; 4 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

C#m7 F#m7 Aiii7 → vi7 F#mv7 → i7natural-minor cadence ×20

The move to watch is C#m7 → F#m7, heard 20 times. From the F#m side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the A side it reads iii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
Over C#m7, land on C#, E, G# — the chord's own tones always sound right on strong beats.
Over F#m7, land on F#, A, C# — the chord's own tones always sound right on strong beats.
Over Bm7, land on B, 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 A major shapes

No capo — open A shapes
Capo 2 + G shapes
Capo 5 + E shapes

With F# minor shapes

Capo 2 + Em shapes
Capo 4 + Dm shapes

Easiest keys on guitar

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

The song's harmonic story

Starting on F#m7, the song gives away its key from the very first bar. The chords that keep coming back are C#m7, F#m7, Bm7, Dmaj7; read them as iii7–vi7–ii7–IVmaj7 in A or v7–i7–iv7–VImaj7 in F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C#m7 → F#m7 (iii7 → vi7 in A, v7 → i7 in F#m): natural-minor cadence — gentle, modal arrival. It closes on Bm7, letting the A 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.

Tuğçe Kandemir - Seni Öptüğüm Sokak (Eypio) 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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Lyrics: Tuğçe Kandemir
Eypio

Music: Tuğçe Kandemir
Eypio

Arrangement: H. Yiğit İnsan
Serhan Bülbül

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