Major view
E major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D# (leading tone, pulls home)
- 4 = A (the note that leans on the 3rd)
Kazım Koyuncu - Ben Seni Sevdiğimi (Şevval Sam) - Chord
Key E major – C# minor Chords D, D#, Bm, F#m Easy key D (capo 2)
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Key: E | Dbm | C#m
Capo: 0
D# D D# Ben seni sevduğumi oy, dunyalara bildurdum Bm D Bm D D# Endurdun kaşlaruni, babani mi babani mi eldurdum F#m D F#m D Endurdun kaşlaruni, endurdun kaşlaruni Bm D D# Babani, babani mi eldurdum D# D D# Kiz evunun onine, sereceğum kilimi Bm D Bm D D# Oldi hayli zamanlar, görmedum görmedum sevduğumi F#m D F#m D Oldi hayli zamanlar, oldi hayli zamanlar Bm D D# Görmedum görmedum sevduğumi D# D D# En dereye dereye, al dereden taşlari Bm D Bm D D# Geçti bizden sevdaluk, al cebumden al cebumden saçlari F#m D F#m D Geçti bizden sevdaluk, geçti bizden sevdaluk Bm D D# Al cebumden al cebumden saçlari
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Kazım Koyuncu - Ben Seni Sevdiğimi (Şevval Sam) Tabs
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Harmony analysis
Kazım Koyuncu – Ben Seni Sevdiğimi (Şevval Sam): key and chord analysis
The song opens on D# and ends on D#. Its chords belong to both E major and C#m, so every chord below is read both ways.
Minor view
C# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = A (the minor's melancholy)
- b7 = B (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 E major and C# 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 E or to C#m; 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 | E | Tonic — home | E · G# · B | — |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | 6× |
| iii | G#m | Mediant — a tonic-family shade | G# · B · D# | — |
| III | G# | Chromatic colour chordoutside the key | G# · B# · D# | — |
| IV | A | Subdominant — moves away from home | A · C# · E | — |
| V | B | Dominant — strongest pull home | B · D# · F# | — |
| v | Bm | Chromatic colour chordoutside the key | B · D · F# | 9× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | — |
| bVII | D | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | D · F# · A | 18× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| VII | D# | Chromatic colour chordoutside the key | D# · G · A# | 12× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | — |
| bII | D | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | D · F# · A | 18× |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| II | D# | Chromatic colour chordoutside the key | D# · G · A# | 12× |
| III | E | Relative major — the bright side | E · G# · B | — |
| iv | F#m | Subdominant — moves away from home | F# · A · C# | 6× |
| v | G#m | Minor dominant — soft pull | G# · B · D# | — |
| V | G# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G# · B# · D# | — |
| VI | A | Submediant — warm colour | A · C# · E | — |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | — |
| vii | Bm | Chromatic colour chordoutside the key | B · D · F# | 9× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 4 different chords appear 45 times in total; 1 of them sit naturally inside the shared scale. D is borrowed from the parallel minor, adding a darker shade to the major side.
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
- E major pentatonic and C# minor pentatonic are the same five notes (E – F# – G# – B – C#): start from E for a brighter phrase, from C# for a bluesier one.
- Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over D#, land on D#, G, A# — the chord's own tones always sound right on strong beats.
- Over Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- On D, follow the chord's notes (D · F# · A) rather than the key's scale — it's a borrowed colour.
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 E major shapes
- No capo — open E shapes
- Capo 2 + D shapes
- Capo 4 + C shapes
With C# minor shapes
- Capo 4 + Am shapes
Easiest keys on guitar
- 2 semitones down · capo 2 keeps the original pitch
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The opening D# lays a solid floor for everything that follows. D, D#, Bm, F#m carry the song: bVII–VII–v–ii relative to E, bII–II–vii–iv relative to C#m. D briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). The final chord is D#; the ear comes to rest in E.
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.
Kazım Koyuncu - Ben Seni Sevdiğimi (Şevval Sam) 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: Maçkalı Hasan TunçMusic: Maçkalı Hasan Tunç
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