Güven Yüreyi - Başka Biri - Chord

Key F major – D minor Chords Am, Gm, Bb, Dm, C Easy key C (capo 5)

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Capo 0

Am                   Gm
Seni saran beni yakan başka biri var
Bb                     Am       Bb    C
İnanmam buna dayanamam gitme yanımda kal

Dm                Gm
Ben hatalıyım biliyorum sevgilim
Am                 Gm       Am       Dm
Çok zarardayım buna hazır değil yüreğim
                     Gm
Yok, henüz değil gidemezsin sevgilim
  Am                  Gm       Am      Dm
Dur hemen gitme buna hazır değil yüreğim

Dm       C     Gm    Dm
Ah, beni al getir sana
                        Am     Gm
Bu kadar da günah, dayanır mı can buna
          Bb
Uzaklık zor geliyor bana
                     Am     Gm
Kalk gel direnir acılar yarına
               Gm    Bb       C          Dm
Nasıl bir aşk savaşı kaybeden ben oldum ya

Am                   Gm
Seni saran beni yakan başka biri var
Bb                     Am       Bb    C
İnanmam buna dayanamam gitme yanımda kal

End of song Play again?

Güven Yüreyi - Başka Biri Tabs

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Harmony analysis

Güven Yüreyi – Başka Biri: key and chord analysis

The song opens on Am and ends on C. Its chords belong to both F major and Dm, so every chord below is read both ways.

Major view

F major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the D minor side because Dm is heard 6 times while F never appears. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	10×
iii	Am	Mediant — a tonic-family shade	A · C · E	10×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	6×
V	C	Dominant — strongest pull home	C · E · G	4×
vi	Dm	Relative minor — the melancholy side	D · F · A	6×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	6×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	—
iv	Gm	Subdominant — moves away from home	G · Bb · D	10×
v	Am	Minor dominant — soft pull	A · C · E	10×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	6×
VII	C	Subtonic — steps back to the tonic	C · E · G	4×

Analysis

The key pair is F major and its relative D minor (1 flat). 5 different chords appear 36 times in total; 5 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

Bb C FIV → VIV → V DmVI → VIIVI → VII ×3
C Dm FV → videceptive cadence DmVII → iAeolian arrival ×2
Am Dm Fiii → vi Dmv → inatural-minor cadence ×2
Gm Dm Fii → vi Dmiv → iminor plagal ×1

The move to watch is Bb → C, heard 3 times. From the Dm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the F side it reads IV → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Bb, land on Bb, D, F — 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 F major shapes

Capo 1 + E shapes
Capo 3 + D shapes
Capo 5 + C shapes

With D minor shapes

No capo — open Dm shapes
Capo 5 + Am shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch
2 semitones up

The song's harmonic story

The opening Am lays a solid floor for everything that follows. Am, Gm, Bb, Dm carry the song: iii–ii–IV–vi relative to F, v–iv–VI–i relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → C (IV → V in F, VI → VII in Dm): VI → VII — the rising step that heads for the tonic. It closes on C, letting the F side have the last word.

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.