Eypio - Sen (Burak King) - Chord

Key A major – F# minor Chords A, C#m, F#m, D Easy key C

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Capo 0

A    C#m    F#m    D

A                       C#m
Sen yine gönlüne göre eğlen
                     F#m
Beni boşver benim acelem
                        D
Var gidiyorum geri dönemem

A                           C#m
Ama sen yine gönlüne göre eğlen
                      F#m
Beni boşver benim acelem
                        D
Var gidiyorum geri dönemem

A
O yüzden koştum
                       C#m
Hayallerimin peşinden yoksun
    F#m                     
Çok oldu içmedim gönül kahvesinden
        D
Buraya otur son kez içelim bunlarda benden olsun

A
Giden gider kalan bizim bi mutlu et yalan bizi
C#m
Bi sor soruştur diyorda rap yeter kalan sizin
F#m
Diktin kalbe bayrak o şimdi olmuş el bezi
D
İntihar komandosuyla dans bu nasıl bi fantazi

A
Ölüm gelir bulur bizi belki mermi serseri
C#m
Aşk için ölünmezdi birazcık bozar o dengeni
F#m
Yirmi dörttü yaşım buldum bende yengeni
D
Gönül bu seçer belki gülü belki seçer merkeli

A
Bir korsan çarptı kalbi e aştı gitti yelkeni
C#m
Gitsem diyorum arada bende eh be burayı terk edip
F#m
Bi soranın olmaz bazen yoktu diye merak edip
A
Cep delik ettim dua belki bi gün cevap verir

A
Uçuyom bana bi kroki ver karada bana bi Cherokee ver
C#m
Ver ver bitti dersen bana da düşman bi lobi ver
F#m
Uğraşacak bi hobi korkmak için de bi fobi ver
D
Sistemin çarklısına hem de her gün bi kobi ver

A                       C#m
Sen yine gönlüne göre eğlen
                     F#m
Beni boşver benim acelem
                        D
Var gidiyorum geri dönemem

A                           C#m
Ama sen yine gönlüne göre eğlen
                      F#m
Beni boşver benim acelem
                        D
Var gidiyorum geri dönemem

A
Yine boşver diyom diyom da istiyom beni
C#m
Kalbim beynime baktım etmiş ispiyon
F#m
Bulutlarda bazen uzanıp yatmak istiyom
D
Uçtum ama inmek için yok mu pist diyom

A
Beynim bazen kalbime sesine kes diyo
C#m
Yeter be pes diyo yeter yaptığın hayalperest diyo
F#m
Göğüs kafesinde esen kuş mu besliyon
D
Kaçak et kesip bir yerde söyle Rus mu besliyon

A
Her malın var alıcısı sen körünü bekliyon
C#m
Nankörünü bekliyon sabahın körünü bekliyon
F#m
Sen kaybolan bi koyun gibisin sürünü bekliyon
D
Kapitalizm seni de mutlu etcek ölümü bekliyon

End of song Play again?

Eypio - Sen (Burak King) Tabs

NotesX

Harmony analysis

Eypio – Sen (Burak King): key and chord analysis

The song opens on A and ends on D. Its chords belong to both A major and F#m, so every chord below is read both ways.

Major view

A major

Brightness rank 2/7 (bright)

Characteristic notes

7 = G# (leading tone, pulls home)
4 = D (the note that leans on the 3rd)

Minor view

F# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = D (the minor's melancholy)
b7 = E (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the A major side because it opens on A and A is heard 14 times against 13 for F#m. That is an interpretation, not a rule — hearing the same chords from F# minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to A or to F#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.

Seen from A major
Degree	Chord	Role	Notes	In song
I	A	Tonic — home	A · C# · E	14×
ii	Bm	Supertonic — prepares the dominant	B · D · F#	—
iii	C#m	Mediant — a tonic-family shade	C# · E · G#	13×
V/vi	C#	Secondary dominant V/vi — leads to F#msecondary dominant	C# · E# · G#	—
IV	D	Subdominant — moves away from home	D · F# · A	12×
V	E	Dominant — strongest pull home	E · G# · B	—
vi	F#m	Relative minor — the melancholy side	F# · A · C#	13×
vii°	G#dim	Leading-tone chord — tension	G# · B · D	—

Seen from F# minor
Degree	Chord	Role	Notes	In song
i	F#m	Tonic — home	F# · A · C#	13×
ii°	G#dim	Supertonic — prepares the dominant	G# · B · D	—
III	A	Relative major — the bright side	A · C# · E	14×
iv	Bm	Subdominant — moves away from home	B · D · F#	—
v	C#m	Minor dominant — soft pull	C# · E · G#	13×
V	C#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C# · E# · G#	—
VI	D	Submediant — warm colour	D · F# · A	12×
VII	E	Subtonic — steps back to the tonic	E · G# · B	—

Analysis

The key pair is A major and its relative F# minor (3 sharps). 4 different chords appear 52 times in total; 4 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

C#m F#m Aiii → vi F#mv → inatural-minor cadence ×13
D A AIV → Iplagal cadence F#mVI → III ×11

The move to watch is C#m → F#m, heard 13 times. From the A side it reads iii → vi; from the F#m side it is v → i (natural-minor cadence: gentle, modal arrival). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
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.
Over F#m, 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 A major shapes

No capo — open A shapes
Capo 2 + G shapes
Capo 5 + E shapes

With F# minor shapes

Capo 2 + Em shapes
Capo 4 + Dm shapes

Easiest keys on guitar

3 semitones up
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

Starting on A, the song gives away its key from the very first bar. The backbone is A, C#m, F#m, D — I–iii–vi–IV from the A side, III–v–i–VI from the F#m side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C#m → F#m (iii → vi in A, v → i in F#m): natural-minor cadence — gentle, modal arrival. The final chord is D; the ear comes to rest in A.

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.