Ceylan Ertem - Seyrüsefer (Melike Şahin) - Chord

Key F major – D minor Chords Dm, Gm, F, C, Bb, Eb, Cm, A Easy key G

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Capo 0

Dm                      C             Bb
Ey aşk al beni süründür yak ateşlerde
                  Dm
Ben gönüllü köleyim sahibim sensin
                                C    Bb
Kanat beni ballı zahirden dişlerinle
                              Dm
Sen her şeye rağmensin ebediyensin

Gm  F  Gm   F  Gm
Aaanneeem anneeem
  F     C     Dm
Annem beni aşka ver
F  Gm   F   Gm  F
 Aasi başım biiiir
 Eb  Cm     Dm
Aşka boyun eğer

Dm
Lalalalalaa la lay
C         Bb        C         Dm
La la lal la la lal la la lal laa

La la la la lal lal laa

Dm
La la la la laa
Gm  A  Dm
La  la la

Dm                                   Bb
Gönül yangın mahkemesiz mahkum kederde
               Dm
Çilemi seveyim ha gökte ha yerde
                                      Bb
Ben aşksız neyleyim herkes teki bedenim
                   Dm
Ben dururum tende can seyrüseferde

Gm  F  Gm   F  Gm
Aaanneeem anneeem
  F     C     Dm
Annem beni aşka ver
F  Gm   F   Gm  F
 Aasi başım biiiir
 Eb  Cm     Dm
Aşka boyun eğer

Dm
Lalalalalaa la lay
C         Bb        C         Dm
La la lal la la lal la la lal laa

La la la la lal lal laa

Dm
La la la la a la la laa
Gm  A  Dm
La  la la

End of song Play again?

Ceylan Ertem - Seyrüsefer (Melike Şahin) Tabs

NotesX

Harmony analysis

Ceylan Ertem – Seyrüsefer (Melike Şahin): 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 18 times against 12 for F 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	12×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	12×
iii	Am	Mediant — a tonic-family shade	A · C · E	—
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	2×
IV	Bb	Subdominant — moves away from home	Bb · D · F	6×
V	C	Dominant — strongest pull home	C · E · G	8×
v	Cm	Chromatic colour chordoutside the key	C · Eb · G	2×
vi	Dm	Relative minor — the melancholy side	D · F · A	18×
bVII	Eb	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	Eb · G · Bb	2×
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	18×
bII	Eb	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Eb · G · Bb	2×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	12×
iv	Gm	Subdominant — moves away from home	G · Bb · D	12×
v	Am	Minor dominant — soft pull	A · C · E	—
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	2×
VI	Bb	Submediant — warm colour	Bb · D · F	6×
VII	C	Subtonic — steps back to the tonic	C · E · G	8×
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 62 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 A is V/vi, a secondary dominant heading for Dm. Eb is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

C Dm FV → videceptive cadence DmVII → iAeolian arrival ×4
Bb Dm FIV → vi DmVI → iVI → i ×4
A Dm FV/vi → vi DmV → iharmonic-minor cadence ×2
Bb C FIV → VIV → V DmVI → VIIVI → VII ×2
Gm A Fii → V/vi Dmiv → Viv → V ×2

The move to watch is C → Dm, heard 4 times. From the Dm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the F side it reads V → vi (deceptive cadence: expected F, lands on 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 Gm, land on G, Bb, D — 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.
When A comes, swap the scale's C for C#: that single note is the harmonic-minor sound of the chord.
On Eb, follow the chord's notes (Eb · G · Bb) 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
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

The first chord is Dm; the ear learns where home is within a second. Dm, Gm, F, C carry the song: vi–ii–I–V relative to F, i–iv–III–VII relative to Dm. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on C → Dm (V → vi in F, VII → i in Dm): Aeolian arrival — rises a whole tone into home. 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.