Berkay Tulumbacı - Aşk Senden Bana - Chord

Key F major – D minor Chords Dm, A7, Gm, C7, Bb, Cm, Ab, Em7b5 Easy key G

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Capo 0

Dm                 Gm
Bir hayat güne karışınca yine
C7                 A7        Dm
Gözlerinden süzülen yaşlar niye 
                   Gm
İlle de yaşa hep yenil ve bağışla
C7                  A7           Dm
Sev sevildiğinle kal kalbine karışma

      Dm           Cm            Ab
Belki bu sabah değişir dedim her şey
   A7             Gm      A7         Dm
Baktım dünden farklı görmedim ki bir şey
                          Cm            Ab
Bu sefer yollar bile saklayamaz beni sanki
    A7        Bb      A7
Nefesin nefesime değmemeli artık yani

Dm                         Gm
Aşk senden bana ne hayır geldi
  Em7b5  A7       Bb         A7         Dm
Ooof,      ne özlemin ne öfkenin sonu geldi

Dm                        Gm
Aşk benden sana ne zarar geldi
  Em7b5  A7       Bb         A7         Dm
Ooof,      ne özlemin ne öfkenin sonu geldi

Dm  Gm  C7  A7  Dm

End of song Play again?

Berkay Tulumbacı - Aşk Senden Bana Tabs

NotesX

Harmony analysis

Berkay Tulumbacı – Aşk Senden Bana: key and chord analysis

The song opens on Dm and ends on Dm. 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)
#7 = C# (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the D minor side because it both starts and finishes on Dm, Dm is heard 11 times while F never appears and the major V chord points straight at Dm. 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	6×
bIII	Ab	Borrowed from the parallel minorborrowed chord	Ab · C · Eb	2×
iii	Am	Mediant — a tonic-family shade	A · C · E	—
V7/vi	A7	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E · G	11×
IV	Bb	Subdominant — moves away from home	Bb · D · F	3×
V7	C7	Dominant — strongest pull home	C · E · G · Bb	3×
v	Cm	Chromatic colour chordoutside the key	C · Eb · G	2×
vi	Dm	Relative minor — the melancholy side	D · F · A	11×
viiø7	Em7b5	Leading-tone chord — tension	E · G · Bb · D	2×

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	11×
iiø7	Em7b5	Supertonic — prepares the dominant	E · G · Bb · D	2×
III	F	Relative major — the bright side	F · A · C	—
iv	Gm	Subdominant — moves away from home	G · Bb · D	6×
#IV	Ab	Chromatic colour chordoutside the key	Ab · C · Eb	2×
v	Am	Minor dominant — soft pull	A · C · E	—
V7	A7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E · G	11×
VI	Bb	Submediant — warm colour	Bb · D · F	3×
VII7	C7	Subtonic — steps back to the tonic	C · E · G · Bb	3×
vii	Cm	Chromatic colour chordoutside the key	C · Eb · G	2×

Analysis

The key pair is F major and its relative D minor (1 flat). 8 different chords appear 40 times in total; 5 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A7 is V7/vi, a secondary dominant heading for Dm. Ab is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

A7 Dm FV7/vi → visecondary resolution DmV7 → iharmonic-minor cadence ×7
Gm C7 Fii → V7ii → V Dmiv → VII7 ×3
Em7b5 A7 Fviiø7 → V7/vi Dmiiø7 → V7ii° → V ×2
Gm A7 Fii → V7/vi Dmiv → V7iv → V ×1

The move to watch is A7 → Dm, heard 7 times. From the Dm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the F side it reads V7/vi → vi (secondary resolution: A7 resolves a fourth up to Dm). 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over A7, 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.
When A7 comes, swap the scale's C for C#: that single note is the harmonic-minor sound of the chord.
On Ab, follow the chord's notes (Ab · C · Eb) 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 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

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

The song's harmonic story

The opening Dm lays a solid floor for everything that follows. The backbone is Dm, A7, Gm, C7 — vi–V7/vi–ii–V7 from the F side, i–V7–iv–VII7 from the Dm side. A7 is the interesting twist: in F it is a chromatic chord (V7/vi), while in Dm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on A7 → Dm (V7/vi → vi in F, V7 → i in Dm): harmonic-minor cadence — the major V resolves dramatically. It closes on Dm, letting the Dm 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.

Berkay Tulumbacı - Aşk Senden Bana 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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Lyrics: Berkay Tulumbacı

Music: Berkay Tulumbacı

Arrangement: Ümit Tulumbacı

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