Yalın - Sensiz Ben Ne Olayım - Chord

Key Db major – Bb minor Chords Bbm, Fm, Ebm7, Ab, Gb, Ebm Easy key C (capo 1)

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Capo 0

Bbm  Ebm7  Gb  Ab  Fm

Bbm
İki mevsim bekledim seni
                          Ebm7
Sen diyorsun iki daha yokum
                       Gb
Çiçekleri de yeşili de kalbimi de
Ab         Bbm
 Kurutuyor yokluğun

Ebm7                     Ab
Çok sevmek lazım en başında
              Fm             Bbm
Öyle sevmek ki yetsin son anına
    Ebm7
Yaz boz tahtası değil hayat
    Ab                Fm          Bbm
Bir aşk filmi olsun ki kalsın yarına

Bbm
Sensiz ben ne olayım
                             Ebm
Dilsiz bir kuş gibi durma dalında
Gb
Sensiz ben ne olayım
Fm                     Bbm
Ne var bu gitmelerin şanında

Fm                       Bbm
Yanarken tovbelerim dudağında

Ebm7  Ab  Fm  Bbm

End of song Play again?

Yalın - Sensiz Ben Ne Olayım Tabs

NotesX

Harmony analysis

Yalın – Sensiz Ben Ne Olayım: key and chord analysis

The song opens on Bbm and ends on Bbm. Its chords belong to both Db major and Bbm, so every chord below is read both ways.

Major view

Db major

Brightness rank 2/7 (bright)

Characteristic notes

7 = C (leading tone, pulls home)
4 = Gb (the note that leans on the 3rd)

Minor view

Bb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Gb (the minor's melancholy)
b7 = Ab (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Bb minor side because it both starts and finishes on Bbm and Bbm is heard 9 times while Db never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	—
ii7	Ebm7	Supertonic — prepares the dominant	Eb · Gb · Bb · Db	5×
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	1×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	6×
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	—
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	3×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	5×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	9×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	9×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	Db	Relative major — the bright side	Db · F · Ab	—
iv7	Ebm7	Subdominant — moves away from home	Eb · Gb · Bb · Db	5×
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	1×
v	Fm	Minor dominant — soft pull	F · Ab · C	6×
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	—
VI	Gb	Submediant — warm colour	Gb · Bb · Db	3×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	5×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 6 different chords appear 29 times in total; 6 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

Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×6
Ebm7 Ab Dbii7 → Vii → V Bbmiv7 → VII ×3
Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×2
Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×1

The move to watch is Fm → Bbm, heard 6 times. From the Bbm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Db side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Ebm7, land on Eb, Gb, Bb — 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 Db major shapes

Capo 1 + C shapes
Capo 4 + A shapes
Capo 6 + G shapes

With Bb minor shapes

Capo 1 + Am shapes
Capo 6 + Em shapes

Easiest keys on guitar

1 semitone down · capo 1 keeps the original pitch
6 semitones up · capo 6 keeps the original pitch

The song's harmonic story

The first chord is Bbm; the ear learns where home is within a second. The chords that keep coming back are Bbm, Fm, Ebm7, Ab; read them as vi–iii–ii7–V in Db or i–v–iv7–VII in Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Bbm (iii → vi in Db, v → i in Bbm): natural-minor cadence — gentle, modal arrival. Ending on Bbm, the song seals Bbm as home.

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.