Sıla - Sevişmeden Uyumayalım - Chord

Key Db major – Bb minor Chords Fm, Ebm, A#m Easy key C (capo 1)

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Capo 0

A#m
Hiç çaresi yokmuş gibi
Fm             Ebm  
Mecbur kalanlardan mısın
A#m
Gitmek zor mu senin için,
Fm                 Ebm  
Mevcut duruma alışanlardan mısın  

Ebm
Aşk yok mu sence
Fm
Sevişmek herkesle aynı mı sence
Ebm
Kalp yok mu sence
Fm
Hayata üşenenlerden misin sen de    

A#m      
İster kırılıp dökülelim
                    Fm
İster yok olup dirilelim
     Ebm
Sevişmeden uyumayalım
Fm     Ebm         A#m
Anlaşmadan ölmeyelim

A#m
Hiç cesareti yokmuş gibi
Fm             Ebm                   
Mecbur susanlardan mısın
A#m
Uçmak zor mu senin için
Fm              Ebm                   
yürümeye bile korkanlardan mısın  

Ebm
Aşk yok mu sence
Fm
Sevişmek herkesle aynı mı sence
Ebm
Kalp yok mu sence
Fm
Hayata üşenenlerden misin sende

End of song Play again?

Sıla - Sevişmeden Uyumayalım Tabs

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Harmony analysis

Sıla – Sevişmeden Uyumayalım: key and chord analysis

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

Major view

Db major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

Bb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Gb (the minor's melancholy)
b7 = Ab (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Bb minor side because it opens on Bbm and Bbm is heard 6 times while Db never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	—
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	10×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	10×
V/vi	F	Secondary dominant V/vi — leads to A#msecondary dominant	F · A · C	—
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	—
V	Ab	Dominant — strongest pull home	Ab · C · Eb	—
vi	A#m	Relative minor — the melancholy side	A# · C# · E#	6×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

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

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 3 different chords appear 26 times in total; 3 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

Ebm A#m Dbii → vi Bbmiv → iminor plagal ×3
Fm A#m Dbiii → vi Bbmv → inatural-minor cadence ×1

The move to watch is Ebm → A#m, heard 3 times. From the Bbm side it is iv → i (minor plagal: deep and melancholic); from the Db side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
Over A#m, land on A#, C#, E# — 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 Db major shapes

Capo 1 + C shapes
Capo 4 + A shapes
Capo 6 + G shapes

With Bb minor shapes

Capo 1 + Am shapes
Capo 6 + Em shapes

Easiest keys on guitar

1 semitone down · capo 1 keeps the original pitch
6 semitones up · capo 6 keeps the original pitch

The song's harmonic story

Starting on A#m, the song gives away its key from the very first bar. The chords that keep coming back are Fm, Ebm, A#m; read them as iii–ii–vi in Db or v–iv–i in Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ebm → A#m (ii → vi in Db, iv → i in Bbm): minor plagal — deep and melancholic. It closes on Fm, letting the Db 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.