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)
Sıla Şahin - Düştüm Bi Anda - Samet Kardeşler - Chord
Key C major – A minor Chords Em7, Fmaj7, Dm7 Difficulty already in its easiest key
No ratings yet
or your user informations
Make it yours
Text size
Key: C | Am
Capo: 0
Fmaj7 Em7 Dm7 Em7
Düştüm bir anda Allahım kalksam ne fayda
Fmaj7 Em7 Dm7 Em7
Onu gördüm göreli aklım zaten firarda
Fmaj7 Em7 Dm7 Em7
Ben sana yeminliyim gel de tövbe mi bozma
Fmaj7 Em7 Dm7 Em7
Zaten hep yenildim ama bu defa bi başka
Fmaj7 Em7 Dm7
Zaman verdim gönül verdim
Em7 Fmaj7
İnkar mı edeceksin
Em7 Dm7
Tamam derdim olur derdim
Em7
İnadından öleceksin
Fmaj7 Em7
Sana diyemedim haklısın haklı
Dm7 Em7
Bu yaptığın sence de hak mı?
Fmaj7 Em7
Deliyorum kusuruma bakma
Dm7 Em7
Duvara anlatsam anlardı
Fmaj7 Em7
Oooo oooo
Dm7 Em7
Sana diyemedim haklısın haklı
Fmaj7 Em7
Oooo oooo
Dm7 Em7
Bu yaptığın sence de hak mı?
Fmaj7 Em7 Dm7 Em7
Düştüm bir anda Allahım kalksam ne fayda
Fmaj7 Em7 Dm7 Em7
Onu gördüm göreli aklım zaten firarda
Fmaj7 Em7 Dm7 Em7
Ben sana yeminliyim gel de tövbe mi bozma
Fmaj7 Em7 Dm7 Em7
Zaten hep yenildim ama bu defa bi başka
Fmaj7 Em7
Sandım sanki geçiçi bi hevesti
Dm7 Em7
Oysa vereceğim son nefestin
Fmaj7 Em7
Dargın değilim üzerine alınma
Dm7 Em7
Aşk denir buna sen ne dersin?
Fmaj7 Em7
Oooo oooo
Dm7 Em7
Sana diyemedim haklısın haklı
Fmaj7 Em7
Oooo oooo
Dm7 Em7
Bu yaptığın sence de hak mı?
Nakarat
End of song Play again?
Sıla Şahin - Düştüm Bi Anda - Samet Kardeşler Tabs
NotesX
Harmony analysis
Sıla Şahin – Düştüm Bi Anda - Samet Kardeşler: key and chord analysis
The song opens on Fmaj7 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: we can't honestly pick a side here — the song moves freely between C major and A minor. Try reading the chords both ways and see which feels more like home to you.
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 | 18× |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 36× |
| III | E | Chromatic colour chordoutside the key | E · G# · B | — |
| IVmaj7 | Fmaj7 | Subdominant — moves away from home | F · A · C · E | 18× |
| V | G | Dominant — strongest pull home | G · B · D | — |
| vi | Am | Relative minor — the melancholy side | A · C · E | — |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | — |
| 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 | 18× |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 36× |
| 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 | — |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 3 different chords appear 72 times in total; 3 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
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Fmaj7, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over Dm7, land on D, F, A — 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 opening Fmaj7 lays a solid floor for everything that follows. The backbone is Em7, Fmaj7, Dm7 — iii7–IVmaj7–ii7 from the C side, v7–VImaj7–iv7 from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. 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.
Sıla Şahin - Düştüm Bi Anda - Samet Kardeşler 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Sıla Şahin, Samet KardeşlerMusic: Sıla Şahin, Samet Kardeşler
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.