Ali Baran - Senden Çektiğim - Chord

Key Bb major – G minor Chords Ebmaj7, Dm7, F, Gm7 Easy key C

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Capo 0

Dm7  Ebmaj7  F  Ebmaj7  Dm7
x2

Dm7          Gm7
Yandım yandım aleve döndüm
F          Ebmaj7
Buluta uzandım
Gm7         F
Gömdüm deli yüreğimi
Ebmaj7     Dm7
Sustum usandım
x2

Dm7      Ebmaj7          F
Gözüm gördüğüm içim döktüğüm
             Ebmaj7     Dm7
Yoluna bakıp hasret ördüğüm
         Ebmaj7       F
Elim elinde hayal ettiğim
              Ebmaj7      Dm7
Bitecek elbet senden çektiğim

Dm7      Ebmaj7          F
Gözüm gördüğüm içim döktüğüm
             Ebmaj7     Dm7
Yoluna bakıp hasret ördüğüm
         Ebmaj7       F
Elim elinde hayal ettiğim
              Ebmaj7      Dm7
Bitecek elbet senden çektiğim

Dm7  Ebmaj7  F  Ebmaj7  Dm7
x2

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Ali Baran - Senden Çektiğim Tabs

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Harmony analysis

Ali Baran – Senden Çektiğim: key and chord analysis

The song opens on Dm7 and ends on Dm7. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

Major view

Bb major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

G minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Eb (the minor's melancholy)
b7 = F (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the G minor side because Gm is heard 2 times while Bb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	—
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	—
iii7	Dm7	Mediant — a tonic-family shade	D · F · A · C	12×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IVmaj7	Ebmaj7	Subdominant — moves away from home	Eb · G · Bb · D	14×
V	F	Dominant — strongest pull home	F · A · C	8×
vi7	Gm7	Relative minor — the melancholy side	G · Bb · D · F	2×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i7	Gm7	Tonic — home	G · Bb · D · F	2×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	—
iv	Cm	Subdominant — moves away from home	C · Eb · G	—
v7	Dm7	Minor dominant — soft pull	D · F · A · C	12×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VImaj7	Ebmaj7	Submediant — warm colour	Eb · G · Bb · D	14×
VII	F	Subtonic — steps back to the tonic	F · A · C	8×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 4 different chords appear 36 times in total; 4 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

Ebmaj7 F BbIVmaj7 → VIV → V GmVImaj7 → VIIVI → VII ×6
Dm7 Gm7 Bbiii7 → vi7 Gmv7 → i7natural-minor cadence ×1
Ebmaj7 Gm7 BbIVmaj7 → vi7 GmVImaj7 → i7VI → i ×1

The move to watch is Ebmaj7 → F, heard 6 times. From the Gm side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic); from the Bb side it reads IVmaj7 → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
Over Ebmaj7, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
Over Dm7, 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.

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 Bb major shapes

Capo 1 + A shapes
Capo 3 + G shapes
Capo 6 + E shapes

With G minor shapes

Capo 3 + Em shapes
Capo 5 + Dm shapes

Easiest keys on guitar

2 semitones up
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

Starting on Dm7, the song gives away its key from the very first bar. Ebmaj7, Dm7, F, Gm7 carry the song: IVmaj7–iii7–V–vi7 relative to Bb, VImaj7–v7–VII–i7 relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ebmaj7 → F (IVmaj7 → V in Bb, VImaj7 → VII in Gm): VI → VII — the rising step that heads for the tonic. The final chord is Dm7; the ear comes to rest in Bb.

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.