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)
Yıldız Tilbe - Seninle Derdim Çok - Chord
Key C major – A minor Chords Am, Dm, F, E, Em, G, Bm7b5, Bm Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Dm Am
Dm
Bir öpüşte anladım
Am
Öpülmüş dudakların
E
Bir sevişte anladım
F Am
Dağılmışsın kollarımda
Dm
Demek ki aciz kaldın
Am
Hatunun ayarına
E
Kilitlemiş bak seni
F Am
Anahtarı koynunda
Dm
Onun bir günahı yok
Am
Belki de aşık oldu
E
Yatınca yatağına
F Am
Uzanınca koynuna
E
Sevdi uyudu senle
Am
Kaldı aklı teninde
Dm
Kim yaptı aranızı
Am
Kim buluşturdu sizi
Bm7b5 E
Nerde dokundu tenin
F Am
Onun yabancı tenine
Dm
Nasıl tuttu ellerin
Am
Uzanan ellerini
Bm7b5 E
Serilince yanına
F Am
Ne hissetti yüreğin
Dm
Nasıl baktı gözlerin
Am
Başkasının kadınına
Bm E
Işıklar kapanınca
F Am
Kalmadım mı aklında
Am G
Seninle derdim çok
F
Hiç mi hatıram yok
Dm Em
Eğer gidersen of of
Am Em
Seninle derdim çok
G Dm
Hiç mi hatıram yok
F Em
Eğer gidersen of of
Dm
Kim bozdu aramızı
Am
Kim kapattı güneşi
E
Kim bitirdi aniden
F Am
Bitmeyen sevgimizi
Dm
Kim girdi aramıza
Am
Serildi ortamıza
E
Bu kadar aşktan sonra
F Am
Kim yıktı bizi şimdi
Dm
Kim çıkarsa karşına
Am
Girecek misin koynuna
E
İstemem üstü kalsın
F Am
Çok ağladım anlarsın
E
Kim rahatsa yanında
Am
O kalsın hayatında
Am G
Seninle derdim çok
G F
Hiç mi hatıram yok
Dm Em
Eğer gidersen of of
Am Em
Seninle derdim çok
G Dm
Hiç mi hatıram yok
F Em
Eğer gidersen of of
,
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Yıldız Tilbe - Seninle Derdim Çok Tabs
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Harmony analysis
Yıldız Tilbe – Seninle Derdim Çok: key and chord analysis
The song opens on Dm and ends on Em. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
- #7 = G# (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 A minor side because Am is heard 25 times while C never appears and the major V chord points straight at Am. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | — |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 14× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 6× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | 11× |
| IV | F | Subdominant — moves away from home | F · A · C | 13× |
| V | G | Dominant — strongest pull home | G · B · D | 5× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 25× |
| viiø7 | Bm7b5 | Leading-tone chord — tension | B · D · F · A | 2× |
| vii | Bm | Chromatic colour chordoutside the key | B · D · F# | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 25× |
| iiø7 | Bm7b5 | Supertonic — prepares the dominant | B · D · F · A | 2× |
| ii | Bm | Chromatic colour chordoutside the key | B · D · F# | 1× |
| III | C | Relative major — the bright side | C · E · G | — |
| iv | Dm | Subdominant — moves away from home | D · F · A | 14× |
| v | Em | Minor dominant — soft pull | E · G · B | 6× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | 11× |
| VI | F | Submediant — warm colour | F · A · C | 13× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 5× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 8 different chords appear 77 times in total; 6 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E is V/vi, a secondary dominant heading for Am. Bm step outside the scale as colour chords.
Chord movement
- Dm Am Cii → vi Amiv → iminor plagal ×10
- F Am CIV → vi AmVI → iVI → i ×9
- E Am CV/vi → vi AmV → iharmonic-minor cadence ×2
- Bm7b5 E Cviiø7 → V/vi Amiiø7 → Vii° → V ×2
- Em Am Ciii → vi Amv → inatural-minor cadence ×2
The move to watch is Dm → Am, heard 10 times. From the Am side it is iv → i (minor plagal: deep and melancholic); from the C side it reads ii → 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Dm, land on D, F, A — 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 E comes, swap the scale's G for G#: 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 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 Dm, the song gives away its key from the very first bar. The backbone is Am, Dm, F, E — vi–ii–IV–V/vi from the C side, i–iv–VI–V from the Am side. E is the interesting twist: in C it is a chromatic chord (V/vi), while in Am it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Dm → Am (ii → vi in C, iv → i in Am): minor plagal — deep and melancholic. It closes on Em, 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.
Yıldız Tilbe - Seninle Derdim Çok 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: Yıldız TilbeMusic: Yıldız TilbeArrangement: Can Atayılmaz
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