Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
Lara Çayan - Cem Adrian (Sevme Beni) - Chord
Key C major – A minor Chords Fmaj7, G, Am, Cmaj7, Dm7 Easy key G (capo 5)
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Key: C | Am
Capo: 0
Am G Fmaj7
Sevgilim sevme beni
Am G Fmaj7
Söyleme tut kalbini
Am G Fmaj7
Kırmızı bir ormanım ben
Am G Fmaj7
Dur, girme, sevme beni
Cmaj7 Fmaj7
Kuş olup git sen
Cmaj7 Fmaj7
Yaşamak kolayken
Am Fmaj7 G Am Fmaj7 G
Am G Fmaj7
Sevgilim sevme beni
Am G Fmaj7
Özleme tut kalbini
Am G Fmaj7
Masmavi bir gökyüzüm var
Am G Fmaj7
Dur, girme, sevme beni
Cmaj7 Fmaj7
Kuş olup gitsem
Cmaj7 Fmaj7
Yaşamak güzelken
Am G
Yine uçsam konsam pervazına
Fmaj7
Haberin bile yokken
Dm7 G
Kaçsak ıslanırız
Fmaj7
Kırılır kanadımız
G
Yalnız uçamayız
Am G
Yine uçsam konsam pervazına
Fmaj7
Haberin bile yokken
Am
Kuş olup gitmem
Fmaj7
Yaşamak senleyken
End of song Play again?
Lara Çayan - Cem Adrian (Sevme Beni) Tabs
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Harmony analysis
Lara Çayan – Cem Adrian (Sevme Beni): key and chord analysis
The song opens on Am and ends on Fmaj7. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the A minor side because it opens on Am and Am is heard 13 times against 4 for C. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 |
|---|---|---|---|---|
| Imaj7 | Cmaj7 | Tonic — home | C · E · G · B | 4× |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 1× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IVmaj7 | Fmaj7 | Subdominant — moves away from home | F · A · C · E | 18× |
| V | G | Dominant — strongest pull home | G · B · D | 14× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 13× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 13× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| IIImaj7 | Cmaj7 | Relative major — the bright side | C · E · G · B | 4× |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 1× |
| v | Em | Minor dominant — soft pull | E · G · B | — |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VImaj7 | Fmaj7 | Submediant — warm colour | F · A · C · E | 18× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 14× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 50 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
- Fmaj7 Am CIVmaj7 → vi AmVImaj7 → iVI → i ×9
- Fmaj7 Cmaj7 CIVmaj7 → Imaj7plagal cadence AmVImaj7 → IIImaj7 ×4
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×3
- Fmaj7 G CIVmaj7 → VIV → V AmVImaj7 → VIIVI → VII ×3
- Dm7 G Cii7 → Vii → V Amiv7 → VII ×1
The move to watch is Fmaj7 → Am, heard 9 times. From the Am side it is VImaj7 → i (VI → i: falls a half step into home); from the C side it reads IVmaj7 → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over Fmaj7, land on F, A, C — 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 Am, land on A, C, E — 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 C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm shapes
Easiest keys on guitar
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
The opening Am lays a solid floor for everything that follows. The chords that keep coming back are Fmaj7, G, Am, Cmaj7; read them as IVmaj7–V–vi–Imaj7 in C or VImaj7–VII–i–IIImaj7 in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fmaj7 → Am (IVmaj7 → vi in C, VImaj7 → i in Am): VI → i — falls a half step into home. It closes on Fmaj7, letting the C 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.
Lara Çayan - Cem Adrian (Sevme Beni) 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: Lara ÇayanMusic: Lara Çayan
Özgür AksüyekArrangement: Özgür Aksüyek
Özgür AksüyekArrangement: Özgür Aksüyek
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