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)
Sena Şahin - Ayıp - Chord
Key C major – A minor Chords Dm7, Em7, Am7, Fmaj7, G, D7, E7 Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Kıta 1
Am7 G Dm7
Bir yalnızlık yürüyor aramızda, yorulmadan ısrarla
Em7 Dm7 Em7 Am7
Giriyor kanımızdan soluğumuzdan içeri
Am7 D7 Fmaj7
Bir yalnızlık yürüyor aramızda
Dm7 Em7
Yorulmadan ısrarla
Dm7 Em7 Dm7
Giriyor kanımızdan soluğumuzdan içeri
Nakarat Öncesi
Dm7 Em7 Dm7 Em7
Kimine zararı oldu bu aşkın kimine faydası
D7 Em7 Dm7 Em7
Kimi gözünden belli bi çocuk kimi fazlası
Nakarat
Fmaj7 G Dm7 Am7
Anlatsam seni sana ayıp olur mu hiç?
Fmaj7 G Dm7 Am7
Buğulu gözlerinin yerine koyalım sevinç
x2
Köprü
Dm7 E7 Am7
Bulsam bir denizyıldızı, döner mi şansım
Dm7 Em7 Fmaj7
Ver hadi elini, bitsin yalnızlığııım
Fmaj7 G Dm7 Am7
x4
Nakarat Öncesi
Dm7 Em7 Dm7 Em7
Kimine zararı oldu bu aşkın kimine faydası
D7 Em7 Dm7 Em7
Kimi gözünden belli bi çocuk kimi fazlası
Nakarat
Fmaj7 G Dm7 Am7
Anlatsam seni sana ayıp olur mu hiç?
Fmaj7 G Dm7 Am7
Buğulu gözlerinin yerine koyalım sevinç
x2
End of song Play again?
Sena Şahin - Ayıp Tabs
NotesX
Harmony analysis
Sena Şahin – Ayıp: key and chord analysis
The song opens on Am7 and ends on Am7. 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 it both starts and finishes on Am, Am is heard 9 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 | — |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 18× |
| V7/V | D7 | Secondary dominant V/V — leads to Gsecondary dominant | D · F# · A · C | 3× |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 13× |
| V7/vi | E7 | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B · D | 1× |
| IVmaj7 | Fmaj7 | Subdominant — moves away from home | F · A · C · E | 7× |
| V | G | Dominant — strongest pull home | G · B · D | 6× |
| vi7 | Am7 | Relative minor — the melancholy side | A · C · E · G | 9× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Am7 | Tonic — home | A · C · E · G | 9× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 18× |
| IV7 | D7 | Major IV — Dorian / melodic-minor colourmodal colour | D · F# · A · C | 3× |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 13× |
| V7 | E7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B · D | 1× |
| VImaj7 | Fmaj7 | Submediant — warm colour | F · A · C · E | 7× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 6× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 57 times in total; 5 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 E7 is V7/vi, a secondary dominant heading for Am. D7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Dm7 Am7 Cii7 → vi7 Amiv7 → i7minor plagal ×5
- Fmaj7 G CIVmaj7 → VIV → V AmVImaj7 → VIIVI → VII ×5
- E7 Am7 CV7/vi → vi7secondary resolution AmV7 → i7harmonic-minor cadence ×1
- Em7 Am7 Ciii7 → vi7 Amv7 → i7natural-minor cadence ×1
- Dm7 E7 Cii7 → V7/vi Amiv7 → V7iv → V ×1
The move to watch is Dm7 → Am7, heard 5 times. From the Am side it is iv7 → i7 (minor plagal: deep and melancholic); from the C side it reads ii7 → vi7. 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 Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Em7, land on E, G, B — 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.
- When E7 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
The first chord is Am7; the ear learns where home is within a second. The chords that keep coming back are Dm7, Em7, Am7, Fmaj7; read them as ii7–iii7–vi7–IVmaj7 in C or iv7–v7–i7–VImaj7 in Am. E7 is the interesting twist: in C it is a chromatic chord (V7/vi), while in Am it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Dm7 → Am7 (ii7 → vi7 in C, iv7 → i7 in Am): minor plagal — deep and melancholic. It closes on Am7, letting the Am side have the last word. The lyric sheet marks 3 section types, so the same chord pattern returns in a clear, predictable order.
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.
Sena Şahin - Ayıp 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: Sena ŞahinMusic: Sena Şahin
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