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)
Engin Nurşani - Seninle Yolumuz Ayrıldı - Chord
Key C major – A minor Chords Am, G, F, Dm Easy key G (capo 5)
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Key: C | Am
Capo: 0
Dm Dm Am Am G G F Am
Am G F Am
Seninle yolumuz ayrıldı dünden ayrıldı dünden
G F Am
Yeter dayanacak öz mü bıraktın oy öz mü bıraktın
G F Am
Sıra sıra engel birbirin yanda oy birbirin yanda
Dm Am
Eştin yollarımı düz mü bıraktın oy
G
Düz mü bıraktın oy
F Am
Düz mü bıraktın
Am G F Am
Keşke bu hallerde görmez olaydım oy görmez olaydım
G F Am
Şu gönlü gönlüne vermez olaydım oy vermez olaydım
G F Am
Geçerken halini sormaz olaydım oy sormaz olaydım
Dm Am
Demediğin kötü söz mü bıraktın oy
G
Söz mü bıraktın oy
F Am
Söz mü bıraktın
Am G F Am
Bir kelamın yeter bin can almaya bin can almaya
G F Am
Bir daha mı tövbe adın anmaya oy adın anmaya
G F Am
Nurşani'yem başkaları yanmaya oy sana yanmaya
Dm Am
Sildin yüreğimden iz mi bıraktın oy
G
İz mi bıraktın oy
F Am
İz mi bıraktın
End of song Play again?
Engin Nurşani - Seninle Yolumuz Ayrıldı Tabs
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Harmony analysis
Engin Nurşani – Seninle Yolumuz Ayrıldı: key and chord analysis
The song opens on Dm and ends on Am. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the A minor side because it comes to rest on Am and Am is heard 21 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | — |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 5× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 13× |
| V | G | Dominant — strongest pull home | G · B · D | 14× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 21× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 21× |
| 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 | 5× |
| v | Em | Minor dominant — soft pull | E · G · B | — |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 13× |
| 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). 4 different chords appear 53 times in total; 4 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
- F Am CIV → vi AmVI → iVI → i ×13
- Dm Am Cii → vi Amiv → iminor plagal ×4
The move to watch is F → Am, heard 13 times. From the Am side it is VI → i (VI → i: falls a half step into home); from the C side it reads IV → vi. 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — 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
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
Starting on Dm, the song gives away its key from the very first bar. The backbone is Am, G, F, Dm — vi–V–IV–ii from the C side, i–VII–VI–iv from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → Am (IV → vi in C, VI → i in Am): VI → i — falls a half step into home. The final chord is Am; the ear comes to rest in Am.
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.
Engin Nurşani - Seninle Yolumuz Ayrıldı 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: Aşık Ali NurşaniMusic: Aşık Ali Nurşani
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