Ebru Gündeş - Dibe Vurgun - Chord

Key C major – A minor Chords Dm, Em, F, Am, Cmaj7 Difficulty already in its easiest key

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Capo 0

Em                    Dm
Nasılım iyi miyim soruyor musun bana
       Em                  Dm
Ben bende miyim hayır, hep sendeyim
         F                  Dm
Dediğime geldin yürek, yine yaktın kendini
Em          Dm            Cmaj7
Bir hata binbir bela sana ne diyeyim

Am                 F
Kendime de kızgınım engel olmadım sana
Em
Aşka yüz çevirmeye cesaretim yok
Dm                  F               Em
İlk defa sevmedim ki, ilk kez aşık olmadım
Dm                    Em  Dm    Em
Yalnızlığım ilk değil alışmadım yok

Em
Ah bu benim deli bozgun, sana vurgun hallerim
                 Am
Yine yürüyor üstüme sustuğum sözlerim
F                   Dm
Ah bu benim dibe vurgun kışa sürgün hallerim
F                   Dm              Dm
Şimdi üşüyor ceplerime sakladığım ellerim

End of song Play again?

Ebru Gündeş - Dibe Vurgun Tabs

NotesX

Harmony analysis

Ebru Gündeş – Dibe Vurgun: key and chord analysis

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

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)

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 2 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.

Seen from C major
Degree	Chord	Role	Notes	In song
Imaj7	Cmaj7	Tonic — home	C · E · G · B	1×
ii	Dm	Supertonic — prepares the dominant	D · F · A	10×
iii	Em	Mediant — a tonic-family shade	E · G · B	8×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	5×
V	G	Dominant — strongest pull home	G · B · D	—
vi	Am	Relative minor — the melancholy side	A · C · E	2×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	2×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
IIImaj7	Cmaj7	Relative major — the bright side	C · E · G · B	1×
iv	Dm	Subdominant — moves away from home	D · F · A	10×
v	Em	Minor dominant — soft pull	E · G · B	8×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	5×
VII	G	Subtonic — steps back to the tonic	G · B · D	—

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 26 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

Em Am Ciii → vi Amv → inatural-minor cadence ×1

The move to watch is Em → Am, heard once. 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Em, land on E, G, B — 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

Starting on Em, the song gives away its key from the very first bar. Dm, Em, F, Am carry the song: ii–iii–IV–vi relative to C, iv–v–VI–i relative to Am. 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. It closes on Dm, letting the C 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.