Zeynep Bastık - Canımsın Sen - Chord

Key F major – D minor Chords Dm7, Bbmaj7, Gm7, Am7, C, A7 Easy key C (capo 5)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Dm7  Bbmaj7  Gm7  Am7
Dm7  Bbmaj7  Gm7  Am7  A7

       Dm7          Bbmaj7       Gm7               Am7
Adın başka, tadın başka, sığmıyorsun ele avuca delisin sen
    Dm7             Bbmaj7      Gm7                  Am7
Dilerim ki benle yaşa, bildiklerin ezber değil, yenisin sen

             Bbmaj7                      Gm7
Boşuna mı yaprak gibi rüzgarına kapıldım ben
            C            Am7        Dm7
Unutup kendimi bir divaneye takıldım ben
         Bbmaj7                 Gm7
Ayağı eşikten dışarda, git gidersen
            C            Am7           Dm7
Bu gönül senden çoktan razı, nasıl istersen

        Dm7        Bbmaj7       Gm7                Am7
Delip geçen gözlerinle, söylenmemiş sözlerinle, sırsın sen
       Dm7       Bbmaj7         Gm7                     Am7
Hiç oyunsuz, sorunsuz, ne bir eksik ne bir fazla, canımsın sen

             Bbmaj7                      Gm7
Boşuna mı yaprak gibi rüzgarına kapıldım ben
            C            Am7        Dm7
Unutup kendimi bir divaneye takıldım ben
         Bbmaj7                 Gm7
Ayağı eşikten dışarda, git gidersen
            C            Am7           Dm7
Bu gönül senden çoktan razı, nasıl istersen

        Dm7          Bbmaj7     Gm7                  Am7
Senden önce senden sonra, iki ayrı devir, iki ayrı dünya
      Dm7       Bbmaj7           Gm7                 Am7
Bir daha da olmayacak, hiçbir şey eskisi gibi yarınlarda

             Bbmaj7                      Gm7
Boşuna mı yaprak gibi rüzgarına kapıldım ben
            C            Am7        Dm7
Unutup kendimi bir divaneye takıldım ben
         Bbmaj7                 Gm7
Ayağı eşikten dışarda, git gidersen
            C            Am7           Dm7
Bu gönül senden çoktan razı, nasıl istersen

End of song Play again?

Zeynep Bastık - Canımsın Sen Tabs

NotesX

Harmony analysis

Zeynep Bastık – Canımsın Sen: key and chord analysis

The song opens on Dm7 and ends on Dm7. 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 14 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	—
ii7	Gm7	Supertonic — prepares the dominant	G · Bb · D · F	14×
iii7	Am7	Mediant — a tonic-family shade	A · C · E · G	14×
V7/vi	A7	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E · G	1×
IVmaj7	Bbmaj7	Subdominant — moves away from home	Bb · D · F · A	14×
V	C	Dominant — strongest pull home	C · E · G	6×
vi7	Dm7	Relative minor — the melancholy side	D · F · A · C	14×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i7	Dm7	Tonic — home	D · F · A · C	14×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	—
iv7	Gm7	Subdominant — moves away from home	G · Bb · D · F	14×
v7	Am7	Minor dominant — soft pull	A · C · E · G	14×
V7	A7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E · G	1×
VImaj7	Bbmaj7	Submediant — warm colour	Bb · D · F · A	14×
VII	C	Subtonic — steps back to the tonic	C · E · G	6×

Analysis

The key pair is F major and its relative D minor (1 flat). 6 different chords appear 63 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.

Chord movement

Am7 Dm7 Fiii7 → vi7 Dmv7 → i7natural-minor cadence ×10
Gm7 C Fii7 → Vii → V Dmiv7 → VII ×6
A7 Dm7 FV7/vi → vi7secondary resolution DmV7 → i7harmonic-minor cadence ×1

The move to watch is Am7 → Dm7, heard 10 times. From the Dm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the F side it reads iii7 → vi7. 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 Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Bbmaj7, land on Bb, D, F — the chord's own tones always sound right on strong beats.
Over Gm7, 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.

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

Starting on Dm7, the song gives away its key from the very first bar. The chords that keep coming back are Dm7, Bbmaj7, Gm7, Am7; read them as vi7–IVmaj7–ii7–iii7 in F or i7–VImaj7–iv7–v7 in Dm. 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 Am7 → Dm7 (iii7 → vi7 in F, v7 → i7 in Dm): natural-minor cadence — gentle, modal arrival. Ending on Dm7, the song seals Dm as home.

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.