Selda Bağcan - Denizlerin Dalgasıyım - Chord

Key Eb major – C minor Chords Cm, Fm, Eb, Bb, Bm, Em Easy key C (capo 3)

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Capo 0

Cm
Sevinmesin ey zalımlar  
Fm         Cm       Eb  Bb  Cm
Öldüğüme benim benim  
Cm          Fm
Yiğit ölmez kolay kolay  
             Eb  Bb        Cm
Ben ölmedim ki ben ölmedimki  
Cm         Fm
Bakmayın suskunluğuma  
Cm         Fm
Bakmayın durgunluğuma  
              Eb
Bedel verdim her kavgada  
Bb         Cm
Yenilmedim ki  

Cm          Fm
Denizlerin dalgasıyım  
Cm           Fm
Ben halkımın kavgasıyım  
             Eb
Yarınların sevdasıyım  
Bb         Cm
Yenilmedim ki  

Cm
Gelir günler gelir elbet
Fm           Cm      Eb  Bb  Cm   
Gör o zaman beni beni  
Bm          Em
Bana neyler zalım felek  
Fm           Eb   Bb        Cm
Ben ölmedim ki ben ölmedim ki  
Cm        Fm
Bakmayın suskunluğuma  
Cm        Fm
Bakmayın durgunluğuma 
              Eb
Bedel verdim her kavgada 
Bb         Cm
Yenilmedim ki

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Selda Bağcan - Denizlerin Dalgasıyım Tabs

NotesX

Harmony analysis

Selda Bağcan – Denizlerin Dalgasıyım: key and chord analysis

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

Major view

Eb major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C minor side because it both starts and finishes on Cm and Cm is heard 18 times against 7 for Eb. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	7×
bii	Em	Chromatic colour chordoutside the key	E · G · B	1×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	10×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	—
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	—
V	Bb	Dominant — strongest pull home	Bb · D · F	7×
bvi	Bm	Chromatic colour chordoutside the key	B · D · F#	1×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	18×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	18×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	7×
#iii	Em	Chromatic colour chordoutside the key	E · G · B	1×
iv	Fm	Subdominant — moves away from home	F · Ab · C	10×
v	Gm	Minor dominant — soft pull	G · Bb · D	—
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	—
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	7×
#vii	Bm	Chromatic colour chordoutside the key	B · D · F#	1×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 44 times in total; 4 of them sit naturally inside the shared scale. Bm, Em step outside the scale as colour chords.

Chord movement

Bb Cm EbV → videceptive cadence CmVII → iAeolian arrival ×7
Fm Cm Ebii → vi Cmiv → iminor plagal ×5

The move to watch is Bb → Cm, heard 7 times. From the Cm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Eb side it reads V → vi (deceptive cadence: expected Eb, lands on Cm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

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

Capo 1 + D shapes
Capo 3 + C shapes
Capo 6 + A shapes

With C minor shapes

Capo 3 + Am shapes

Easiest keys on guitar

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

The song's harmonic story

The opening Cm lays a solid floor for everything that follows. The chords that keep coming back are Cm, Fm, Eb, Bb; read them as vi–ii–I–V in Eb or i–iv–III–VII in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → Cm (V → vi in Eb, VII → i in Cm): Aeolian arrival — rises a whole tone into home. The final chord is Cm; the ear comes to rest in Cm.

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.