Sibel Can - Senden Başka Kimsem Yok - Chord

Key Db major – Bb minor Chords Fm, Gb, Ab, Bbm, Ebm, C# Easy key C (capo 1)

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Capo 0

Fm    Bbm            Ab
Gönül viran bir kuytu
               Bbm
Hayat zalim bir suçlu
Fm        Ab          Gb     Ab
Sen geldin cennet oldu dünyam
           Gb        Ebm  Ab        Fm         Bbm
Hiçbir aşkı duymuyorum   kalbim kırık başka aşka
         C#           Gb          Ebm       Fm   Bbm
Bir canım var al diyorum feda olsun senin uğruna
            Fm        Gb           Ebm        Fm
Kaç günüm var bilmiyorum ömrüm feda senin sevdana

Fm                      Gb
Senden başka kimsem yok
       Fm
Kolum yok kanadım yok
    Gb
Halimi soranım yok
         Fm
Yalan dünyada

          Gb
Sen yoksan hiç kimsem yok
       Fm
Kolum yok kanadım yok
     Gb
Derdimi soranım yok
         Fm
Yalan dünyada

Fm                   Ab
Hayat yolum dermanım
            Gb          Fm
Hoş geldin iyi ki varsın
         Ab          Gb         Ab
Göz ağrım, alın yazım, canımsın
           Gb        Ebm  Ab        Fm         Bbm
Hiçbir aşkı duymuyorum   kalbim kırık başka aşka
         C#           Gb          Ebm       Fm   Bbm
Bir canım var al diyorum feda olsun senin uğruna
            Fm        Gb           Ebm        Fm
Kaç günüm var bilmiyorum ömrüm feda senin sevdana
 
Fm                      Gb
Senden başka kimsem yok
       Fm
Kolum yok kanadım yok
    Gb
Halimi soranım yok
         Fm
Yalan dünyada

          Gb
Sen yoksan hiç kimsem yok
       Fm
Kolum yok kanadım yok
     Gb
Derdimi soranım yok
         Fm
Yalan dünyada

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Sibel Can - Senden Başka Kimsem Yok Tabs

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Harmony analysis

Sibel Can – Senden Başka Kimsem Yok: key and chord analysis

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

Major view

Db major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

Bb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

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

Which side does the ear lean to?

Our reading: to us the song feels closer to the Bb minor side because Bbm is heard 6 times against 2 for Db. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 Db major
Degree	Chord	Role	Notes	In song
I	C#	Tonic — home	C# · E# · G#	2×
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	6×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	22×
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	—
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	17×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	8×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	6×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	6×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	C#	Relative major — the bright side	C# · E# · G#	2×
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	6×
v	Fm	Minor dominant — soft pull	F · Ab · C	22×
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	—
VI	Gb	Submediant — warm colour	Gb · Bb · Db	17×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	8×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 6 different chords appear 61 times in total; 6 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

Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×5
Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×2
Ebm Ab Dbii → Vii → V Bbmiv → VII ×2
Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×1

The move to watch is Fm → Bbm, heard 5 times. From the Bbm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Db side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

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

Capo 1 + C shapes
Capo 4 + A shapes
Capo 6 + G shapes

With Bb minor shapes

Capo 1 + Am shapes
Capo 6 + Em shapes

Easiest keys on guitar

1 semitone down · capo 1 keeps the original pitch
6 semitones up · capo 6 keeps the original pitch

The song's harmonic story

The opening Fm lays a solid floor for everything that follows. The backbone is Fm, Gb, Ab, Bbm — iii–IV–V–vi from the Db side, v–VI–VII–i from the Bbm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Bbm (iii → vi in Db, v → i in Bbm): natural-minor cadence — gentle, modal arrival. The final chord is Fm; the ear comes to rest in Db.

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.