Toygar Işıklı - Sen Eşittir Ben - Chord

Key C major – A minor Chords Dm, Am, Em, G, F Difficulty already in its easiest key

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Am  Am  Dm  G  G  Dm  G  G  F  Am

Am             Dm        G
Gün karanlıksa etrafın bulanıksa
             Em              Dm              Am
Kaderin sana düşmansa benden çok da farklı değilsin
                        Dm           G
Yağmura saygın sonsuzsa aşka hiç inanmıyorsan
                Em            Dm               Am
Zorla günleri sayıyorsan aynı kişi bile olabiliriz

Dm                              Em
Eminim bi gün senle buluşup bir şeyler içeceğiz
      Dm                             Em
Hatta belki eskileri anacağız dertleşeceğiz

   Am             Dm            Em             Am
En sevdiğin şarkı yalansa hayatının filmi hayatsa
        F             Em           Dm              G
Bi de hayatın tümüyle yalansa karşılaşmamız an meselesi
  Am             Dm            Em             Am
Hayatının kitabı mutluluksa sardunyaları mırıldanıyorsan
   F                 Em            Dm            Em
Deniz görmeden yaşayamıyorsan sen eşittir ben demektir

Am  Am  Dm  G  G  Dm  G  G  F  Am

Am              Dm        G
Gün yol almışsa efkarın omzundaysa
              Em              Dm              Am
Gözyaşın sana düşmansa benden çok da farklı değilsin
                       Dm            G
Yağmura aşkın sonsuzsa kalbinde saklanıyorsan
                Em            Dm                Am
Zorla günleri sayıyorsan aynı hüznü bile duyabiliriz

Dm                              Em
Eminim bi gün senle buluşup bir şeyler içeceğiz
      Dm                             Em
Hatta belki eskileri anacağız dertleşeceğiz

   Am             Dm            Em             Am
En sevdiğin şarkı yalansa hayatının filmi hayatsa
        F             Em           Dm              G
Bi de hayatın tümüyle yalansa karşılaşmamız an meselesi
  Am             Dm            Em             Am
Hayatının kitabı mutluluksa sardunyaları mırıldanıyorsan
   F                 Em            Dm            Em
Deniz görmeden yaşayamıyorsan sen eşittir ben demektir

End of song Play again?

Toygar Işıklı - Sen Eşittir Ben Tabs

NotesX

Harmony analysis

Toygar Işıklı – Sen Eşittir Ben: key and chord analysis

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

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)

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the A minor side because it opens on Am and Am is heard 20 times while C never appears. 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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	—
ii	Dm	Supertonic — prepares the dominant	D · F · A	24×
iii	Em	Mediant — a tonic-family shade	E · G · B	18×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	6×
V	G	Dominant — strongest pull home	G · B · D	14×
vi	Am	Relative minor — the melancholy side	A · C · E	20×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	20×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	—
iv	Dm	Subdominant — moves away from home	D · F · A	24×
v	Em	Minor dominant — soft pull	E · G · B	18×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	6×
VII	G	Subtonic — steps back to the tonic	G · B · D	14×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 82 times in total; 5 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

Dm G Cii → Vii → V Amiv → VII ×10
Em Am Ciii → vi Amv → inatural-minor cadence ×7
Dm Am Cii → vi Amiv → iminor plagal ×4
G Am CV → videceptive cadence AmVII → iAeolian arrival ×2
F Am CIV → vi AmVI → iVI → i ×2

The move to watch is Dm → G, heard 10 times. From the Am side it is iv → VII; from the C 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

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 Dm, land on D, F, A — 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 Em, land on E, G, B — 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 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 opening Am lays a solid floor for everything that follows. Dm, Am, Em, G carry the song: ii–vi–iii–V relative to C, iv–i–v–VII relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → G (ii → V in C, iv → VII in Am): ii → V — the classic preparation of the dominant. The final chord is Em; the ear comes to rest in C.

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.