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)
Ebru Gündeş - Dünden Beri - Chord
Key C major – A minor Chords Em7, Am7, Fmaj7, Dm7, G Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Em7 Gel bitsin artık hasretin G Fmaj7 Kim bilir kaç gece gözlerim yaşla bekledim Em7 Dualar etsem sabredip G Fmaj7 Em7 Selamet mi olur sonu bu kadar özlemin Am7 Em7 Saydığım günler değil Dm7 Em7 Saçlarımdaki aklar Fmaj7 Em7 Çektiği kederleri Dm7 Am7 Seven kalbinde saklar Am7 Em7 Bastığın yer yol değil Fmaj7 Am7 Kimin ah bu sokaklar Fmaj7 Em7 Am7 Bittiğimi görmesin belki üzülür ağlar Am7 Em7 Dm7 Am7 Uyutmuyor aşkın beni dünden beri Fmaj7 Em7 Dm7 Em7 Dönmüyorsan şu kalbimi gönder geri Am7 Em7 Dm7 Am7 Vazgeç diyor gönül o zalimin biri Fmaj7 Em7 Dm7 Em7 Farketmiyor artık ne ölüyüm ne diri
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Ebru Gündeş - Dünden Beri Tabs
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Harmony analysis
Ebru Gündeş – Dünden Beri: key and chord analysis
The song opens on Em7 and ends on Em7. 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 Am is heard 9 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | — |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 6× |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 14× |
| 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 | 7× |
| V | G | Dominant — strongest pull home | G · B · D | 2× |
| vi7 | Am7 | Relative minor — the melancholy side | A · C · E · G | 9× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Am7 | Tonic — home | A · C · E · G | 9× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 6× |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 14× |
| 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 | 7× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 2× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 38 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
- Dm7 Am7 Cii7 → vi7 Amiv7 → i7minor plagal ×3
- Em7 Am7 Ciii7 → vi7 Amv7 → i7natural-minor cadence ×3
- Fmaj7 Am7 CIVmaj7 → vi7 AmVImaj7 → i7VI → i ×1
The move to watch is Dm7 → Am7, heard 3 times. From the Am side it is iv7 → i7 (minor plagal: deep and melancholic); from the C side it reads ii7 → vi7. 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 Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Fmaj7, land on F, A, 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 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
The song is already written in its easiest key for guitar.
The song's harmonic story
The first chord is Em7; the ear learns where home is within a second. The chords that keep coming back are Em7, Am7, Fmaj7, Dm7; read them as iii7–vi7–IVmaj7–ii7 in C or v7–i7–VImaj7–iv7 in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm7 → Am7 (ii7 → vi7 in C, iv7 → i7 in Am): minor plagal — deep and melancholic. It closes on Em7, 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.
Ebru Gündeş - Dünden Beri 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: Oğuzhan Koç - Çağrı TelkıvıranMusic: Oğuzhan Koç - Çağrı TelkıvıranArrangement: Çağrı Telkıvıran
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