Teoman - Vur Sen Beni - Chord

Key Db major – Bb minor Chords B, A, C#m, Bbm, F#, Ab, C# Easy key A (capo 4)

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Capo 0

        Bbm       F#               Ab       C#
Göz yaşıysa sevdiklerin ben en çirkini en fakiri
     Bbm             F#         Ab        C#
Yanmıyorsa yorgun lambam ısıtmazsa karton evim  
A  B  C#m
aaaaaaaaa         

        Bbm     F#                   Ab       C#
Hiç tutmam ben sözlerimi, derindir uykum uyanmadım
        Bbm      F#             Ab      C#
On gün oldu ben öleli, bir öyküydüm anlatıldım  

A  B  C#m  A   B   A   B   A   B
aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa   

C#m          B             A            B
Vur sen beni yerden yere, damganı savur ellerimize
C#m           B           A         B
Bir kavga ki ürkütürse, kanatırsa öldürürse  
C#m          B             A             B
Vur sen beni yerden yere, damganı savur ellerimize
C#m           B           A         B
Bir kavga ki ürkütürse, kanatırsa seni gizlice

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Teoman - Vur Sen Beni Tabs

NotesX

Harmony analysis

Teoman – Vur Sen Beni: key and chord analysis

The song opens on Bbm and ends on B. 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 opens on Bbm. 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	C#	Tonic — home	C# · E# · G#	4×
i	C#m	Chromatic colour chordoutside the key	C# · E · G#	6×
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	—
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	—
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	—
IV	F#	Subdominant — moves away from home	F# · A# · C#	4×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	4×
bVI	A	Borrowed from the parallel minorborrowed chord	A · C# · E	9×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	4×
bVII	B	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	B · D# · F#	13×
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	4×
bII	B	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	B · D# · F#	13×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	C#	Relative major — the bright side	C# · E# · G#	4×
iii	C#m	Chromatic colour chordoutside the key	C# · E · G#	6×
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	—
v	Fm	Minor dominant — soft pull	F · Ab · C	—
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	—
VI	F#	Submediant — warm colour	F# · A# · C#	4×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	4×
#VII	A	Chromatic colour chordoutside the key	A · C# · E	9×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 7 different chords appear 44 times in total; 4 of them sit naturally inside the shared scale. B, A are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Ab C# DbV → Iauthentic cadence BbmVII → III ×4
F# Ab DbIV → VIV → V BbmVI → VIIVI → VII ×4

The move to watch is Ab → C#, heard 4 times. From the Bbm side it is VII → III; from the Db side it reads V → I (authentic cadence: the strongest arrival home). 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 B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
Over C#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
On B, follow the chord's notes (B · D# · F#) 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 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

4 semitones down · capo 4 keeps the original pitch
3 semitones up

The song's harmonic story

Starting on Bbm, the song gives away its key from the very first bar. The chords that keep coming back are B, A, C#m, Bbm; read them as bVII–bVI–i–vi in Db or bII–#VII–iii–i in Bbm. B briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on Ab → C# (V → I in Db, VII → III in Bbm): authentic cadence — the strongest arrival home. Ending on B, the song seals Db 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.