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)
Selami Şahin - Başımın Tatlı Belası - Chord
Key C major – A minor Chords Em, Am, F, G, Dm, Bm, C Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Em
Biz seninle yıllar yılı
Am
Ne birleştik ne ayrıldık
F
Bazen güldük mutlu olduk
G Em
Bazen hiç yere darıldık
Em F
Heves olsa çoktan geçer
G
Arzu olsa çoktan biter
Bm C
Bence bu aşk böyle gelmiş
Dm Em
Bundan sonra böyle gider
Am Em
Başımın tatlı belası
Am Em
Gönlümün kara sevdası
Am F
Her şey boş senden sonrası
Em
Vazgeçmem senden senden
Dm Em
Ayrılmam senden
Em
Biz seninle bir bütünüz
Am
İstesekte kopamayız
F
Bir bedende can gibiyiz
G Em
Biz yabancı olamayız
End of song Play again?
Selami Şahin - Başımın Tatlı Belası Tabs
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Harmony analysis
Selami Şahin – Başımın Tatlı Belası: key and chord analysis
The song opens on Em and ends on Em. 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: to us the song feels closer to the A minor side because Am is heard 5 times against 1 for C. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 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 | 1× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 2× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 10× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 4× |
| V | G | Dominant — strongest pull home | G · B · D | 3× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 5× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| vii | Bm | Chromatic colour chordoutside the key | B · D · F# | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 5× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| ii | Bm | Chromatic colour chordoutside the key | B · D · F# | 1× |
| III | C | Relative major — the bright side | C · E · G | 1× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 2× |
| v | Em | Minor dominant — soft pull | E · G · B | 10× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 4× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 3× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 26 times in total; 6 of them sit naturally inside the shared scale. Bm step outside the scale as colour chords.
Chord movement
- Em Am Ciii → vi Amv → inatural-minor cadence ×5
- F G CIV → VIV → V AmVI → VIIVI → VII ×3
The move to watch is Em → Am, heard 5 times. From the Am side it is v → i (natural-minor cadence: gentle, modal arrival); from the C side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
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 Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — 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 first chord is Em; the ear learns where home is within a second. The backbone is Em, Am, F, G — iii–vi–IV–V from the C side, v–i–VI–VII from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em → Am (iii → vi in C, v → i in Am): natural-minor cadence — gentle, modal arrival. The final chord is Em; the ear comes to rest in C.
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.
Selami Şahin - Başımın Tatlı Belası 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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