Bayhan - Bana Sen Lazımsın - Chord

Key F major – D minor Chords Dm, Bb, Gm, Am, C Easy key G

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Capo 0

Dm           Bb    Am           Gm
Bana sen lazımsın, bana sen lazımsın

Dm
Teselli aramak zor gelir
  C
Giden sevgili arkasından
  Bb
Yürek paramparça bir halde
    Dm
Bedenim darmadağın

     Dm
Giderken dökülen göz yaşlarım
C
Ne ilk, ne son
                     Bb
Sadece zamansız yaşandı her şey
                           Dm
Anladım, sana geç kaldı bu ömür, darmadağın

C                      Gm
Bırakıp bir kenara yaşanan her şeyi
     Bb                Am
Atıyorum kendimi gecelere
    C                  Gm
Bir başka sevgilide avunurum diye
     C
Süründü bu gönül elden ele

Dm
Ne güz, ne güller ister
Bb
Bu kalp bir sende titrer
Am
Yak, hadi durma
  Gm
Senin bu küller

Dm
Ne yazı, ne kışı bekler
Bb
Bu kalp bir seni özler
Am
Vur, hadi durma
  Gm
Senin bu izler
             Dm
Bana sen lazımsın

Dm           Bb    Am           Gm
Bana sen lazımsın, bana sen lazımsın

Dm  Bb  Am  Gm  Dm   Bb  Am  Gm

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Bayhan - Bana Sen Lazımsın Tabs

NotesX

Harmony analysis

Bayhan – Bana Sen Lazımsın: key and chord analysis

The song opens on Dm and ends on Gm. 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 it opens on Dm and Dm is heard 11 times while F never appears. 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
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	8×
iii	Am	Mediant — a tonic-family shade	A · C · E	7×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	9×
V	C	Dominant — strongest pull home	C · E · G	5×
vi	Dm	Relative minor — the melancholy side	D · F · A	11×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	11×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	—
iv	Gm	Subdominant — moves away from home	G · Bb · D	8×
v	Am	Minor dominant — soft pull	A · C · E	7×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	9×
VII	C	Subtonic — steps back to the tonic	C · E · G	5×

Analysis

The key pair is F major and its relative D minor (1 flat). 5 different chords appear 40 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

Gm Dm Fii → vi Dmiv → iminor plagal ×5
Bb Dm FIV → vi DmVI → iVI → i ×2
C Dm FV → videceptive cadence DmVII → iAeolian arrival ×1
Gm C Fii → Vii → V Dmiv → VII ×1

The move to watch is Gm → Dm, heard 5 times. From the Dm side it is iv → i (minor plagal: deep and melancholic); from the F side it reads ii → vi. 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
Over Gm, land on G, Bb, 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 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

2 semitones up
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 backbone is Dm, Bb, Gm, Am — vi–IV–ii–iii from the F side, i–VI–iv–v from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → Dm (ii → vi in F, iv → i in Dm): minor plagal — deep and melancholic. The final chord is Gm; the ear comes to rest in F.

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.