Eda Baba - Sen Beni Duy - Chord

Key C major – A minor Chords Dm, Am, G, F, D Easy key G (capo 5)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Dm  Am  Dm  Am  G

Dm                    Am
Ucunda ölüm yok ya bittiyse bitti
Dm                     Am        G
Kim daha çok severse o hep kaybetti
Dm                       Am
Alışırım buna da ben nelere sabrettim
       Dm                   Am          G
Ne bir kin var ne şikayet aldım kabul ettim

           Dm
Tüm anılar sanki bir rüya gibiydi
Am
Dikensiz gül bahçesi
F        D
Kapılmış seyrederken
Am                Dm
Aşk gözümü kör etti

Dm             Am
Yalvarırım dur, şahlanır gurur
Dm             Am       G
Ben söyleyemem, isterim sen beni duy

Dm                    Am
Bu ateş öyle kolay sönmez demiştin
Dm                      Am    G
Gidersen eğer soğur evim ellerim
Dm                          Am 
İnan olsun görmedi bu yürek böyle sevgi
Dm                         Am       G   
Bir metanet bana mabetti yüzün gözlerin

Dm             Am
Yalvarırım dur, şahlanır gurur
Dm             Am       G
Ben söyleyemem, isterim sen beni duy

End of song Play again?

Eda Baba - Sen Beni Duy Tabs

NotesX

Harmony analysis

Eda Baba – Sen Beni Duy: key and chord analysis

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

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)

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 Am is heard 16 times while C never appears. 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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	—
ii	Dm	Supertonic — prepares the dominant	D · F · A	16×
V/V	D	Secondary dominant V/V — leads to Gsecondary dominant	D · F# · A	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	—
IV	F	Subdominant — moves away from home	F · A · C	1×
V	G	Dominant — strongest pull home	G · B · D	7×
vi	Am	Relative minor — the melancholy side	A · C · E	16×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	16×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	—
iv	Dm	Subdominant — moves away from home	D · F · A	16×
IV	D	Major IV — Dorian / melodic-minor colourmodal colour	D · F# · A	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	—
VI	F	Submediant — warm colour	F · A · C	1×
VII	G	Subtonic — steps back to the tonic	G · B · D	7×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 41 times in total; 4 of them sit naturally inside the shared scale. D acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Dm Am Cii → vi Amiv → iminor plagal ×15

The move to watch is Dm → Am, heard 15 times. From the Am side it is iv → i (minor plagal: deep and melancholic); from the C side it reads ii → 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 Dm, land on D, F, A — 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.
Over G, land on G, B, D — 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 first chord is Dm; the ear learns where home is within a second. The chords that keep coming back are Dm, Am, G, F; read them as ii–vi–V–IV in C or iv–i–VII–VI in Am. D adds a moment of surprise: secondary dominant V/V — leads to G. Keep an ear on Dm → Am (ii → vi in C, iv → i in Am): minor plagal — deep and melancholic. The final chord is G; the ear comes to rest in C.

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.