Burak Kut - Bebeğim - Chord

Key F major – D minor Chords Gm, Am, C, Bb, Dm, Cm Easy key C (capo 5)

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Capo 0

Am            Gm      Am
Sözlerim tükendi bu akşam 
           Gm       Am
Neden Allah'ım bu ceza
C        Gm    C       Gm
Bedenim donuk ellerim soğuk
C            Gm      Am
Ayrılık var yine yalnızım
 
Am                                   Dm
Sen sevdiğimdin bebeğimdin neden ayrıldık
Bb         Gm           Cm
Sen tutamadığım çiçeğimdin
                  Bb      Am
Bir tanem neden neden ayrıldık
 
Am        Gm       Am
Sigaram sensiz bitiyor
         Gm     Am
Ah aşkım içim yanıyor
C       Gm    C       Gm
Soğudu odam yalnızım yine 
C            Gm      Am
Yapamam ben sensiz dur dinle

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Burak Kut - Bebeğim Tabs

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Harmony analysis

Burak Kut – Bebeğim: key and chord analysis

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

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)

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 1 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.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	11×
iii	Am	Mediant — a tonic-family shade	A · C · E	10×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	2×
V	C	Dominant — strongest pull home	C · E · G	6×
v	Cm	Chromatic colour chordoutside the key	C · Eb · G	1×
vi	Dm	Relative minor — the melancholy side	D · F · A	1×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	1×
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	11×
v	Am	Minor dominant — soft pull	A · C · E	10×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	2×
VII	C	Subtonic — steps back to the tonic	C · E · G	6×
vii	Cm	Chromatic colour chordoutside the key	C · Eb · G	1×

Analysis

The key pair is F major and its relative D minor (1 flat). 6 different chords appear 31 times in total; 5 of them sit naturally inside the shared scale. Cm step outside the scale as colour chords.

Chord movement

Gm C Fii → Vii → V Dmiv → VII ×4
Am Dm Fiii → vi Dmv → inatural-minor cadence ×1

The move to watch is Gm → C, heard 4 times. From the Dm side it is iv → VII; from the F side it reads ii → V (ii → V: the classic preparation of the dominant). 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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over C, land on C, E, G — 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

The opening Am lays a solid floor for everything that follows. The chords that keep coming back are Gm, Am, C, Bb; read them as ii–iii–V–IV in F or iv–v–VII–VI in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → C (ii → V in F, iv → VII in Dm): ii → V — the classic preparation of the dominant. Ending on Am, 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.