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)
Shawty - Senin Elini Biri mi Tuttu - Chord
Key F major – D minor Chords Bbmaj7, Am7, Dm7 Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Bbmaj7 Bbmaj7 Am7 Am7 Bbmaj7 Dm7
Dm7
Senin elini biri mi tuttu
Ne oldu da gittin de beni unuttun
Am7
Öyle sanıyordum, giderken ağlıyordun
Bbmaj7
Yüzüme bakmıyordun, anlamıştım her halinden
x2
Bbmaj7
Gidenin yolu açık olur umarım
Am7
Aklın başına geri gelir umarım
Hiç düşünmedim yerine kimi koyarım
Bbmaj7 Dm7
Hiç üzülmedim kendinle gurur duyarım
Dm7
Gözyaşı bile dökemedim iki gündür
Olayın şokundayım hala
Am7
Ya yaşat ya da gelip beni öldür
Bbmaj7
Kalbim seninle nasıl olsa
Bbmaj7
Bir duysan nasıl atıyor kalbim
Am7
Bir görsen seni soruyor bana
Bilemediğin o kıymeti
Bbmaj7
Anlarsın geç olmadan söyliyim sana
Dm7
Senin elini biri mi tuttu
Ne oldu da gittin de beni unuttun
Am7
Öyle sanıyordum,giderken ağlıyordun
Bbmaj7
Yüzüme bakmıyordun, anlamıştım her halinden
x2
End of song Play again?
Shawty - Senin Elini Biri mi Tuttu Tabs
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Harmony analysis
Shawty – Senin Elini Biri mi Tuttu: key and chord analysis
The song opens on Bbmaj7 and ends on Bbmaj7. Its chords belong to both F major and Dm, so every chord below is read both ways.
Minor view
D minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Bb (the minor's melancholy)
- b7 = C (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the D minor side because Dm is heard 5 times while F never appears. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | — |
| iii7 | Am7 | Mediant — a tonic-family shade | A · C · E · G | 7× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IVmaj7 | Bbmaj7 | Subdominant — moves away from home | Bb · D · F · A | 10× |
| V | C | Dominant — strongest pull home | C · E · G | — |
| vi7 | Dm7 | Relative minor — the melancholy side | D · F · A · C | 5× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Dm7 | Tonic — home | D · F · A · C | 5× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | — |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | — |
| v7 | Am7 | Minor dominant — soft pull | A · C · E · G | 7× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VImaj7 | Bbmaj7 | Submediant — warm colour | Bb · D · F · A | 10× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | — |
Analysis
The key pair is F major and its relative D minor (1 flat). 3 different chords appear 22 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
- Bbmaj7 Dm7 FIVmaj7 → vi7 DmVImaj7 → i7VI → i ×3
The move to watch is Bbmaj7 → Dm7, heard 3 times. From the Dm side it is VImaj7 → i7 (VI → i: falls a half step into home); from the F side it reads IVmaj7 → 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 Bbmaj7, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over Am7, land on A, C, E — 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.
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 Bbmaj7, the song gives away its key from the very first bar. Bbmaj7, Am7, Dm7 carry the song: IVmaj7–iii7–vi7 relative to F, VImaj7–v7–i7 relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbmaj7 → Dm7 (IVmaj7 → vi7 in F, VImaj7 → i7 in Dm): VI → i — falls a half step into home. Ending on Bbmaj7, the song seals F 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.
Shawty - Senin Elini Biri mi Tuttu 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: ShawtyMusic: Shawty
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