Koray Avcı - Sevda - Chord

Key C major – A minor Chords Em7, Am7, Dm7, Fmaj7, Am Difficulty already in its easiest key

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Capo 0

Am7           Em7   Am7           Em7
Saçların alev gibi, gözlerin rüya gibi
Fmaj7          Em7   Dm7            Em7
Güzelsin hayallerde, özlenen cennet gibi
Am7             Em7   Am7              Em7
Ne kadar gizlesen de, ne kadar yok desen de
Fmaj7        Em7  Dm7            Em7
Hayali dünkü gibi yaşıyor gözlerinde

Am7    Dm7  Em7
Sevda, seeevda
                              Am
Unut onu dinsin gönlünde fırtına
Fmaj7  Dm7  Em7
Sevda, seeevda

Değmez ona ağlamaya

Am7              Em7  Am7           Em7
Gözlerin nemli nemli, yaralı ceylan gibi
Fmaj7         Em7   Dm7            Em7
Ağlayıp inliyorsun, içli bir keman gibi
Am7            Em7   Am7              Em7
Ne kadar özlesen de, ne kadar sabretsen de
Fmaj7          Em7   Dm7            Em7
Yıllarca aldatıldın, bekledin kadın gibi

Am7    Dm7  Em7
Sevda, seeevda
                              Am
Unut onu dinsin gönlünde fırtına
Fmaj7  Dm7  Em7
Sevda, seeevda

Değmez ona ağlamaya

Am7    Dm7  Em7
Sevda, seeevda
                              Am
Unut onu dinsin gönlünde fırtına
Fmaj7  Dm7  Em7
Sevda, seeevda

Hayat değer yaşamaya

End of song Play again?

Koray Avcı - Sevda Tabs

NotesX

Harmony analysis

Koray Avcı – Sevda: key and chord analysis

The song opens on Am7 and ends on Em7. 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 14 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	—
ii7	Dm7	Supertonic — prepares the dominant	D · F · A · C	10×
iii7	Em7	Mediant — a tonic-family shade	E · G · B · D	22×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IVmaj7	Fmaj7	Subdominant — moves away from home	F · A · C · E	7×
V	G	Dominant — strongest pull home	G · B · D	—
vi7	Am7	Relative minor — the melancholy side	A · C · E · G	11×
vi	Am	Relative minor — the melancholy side	A · C · E	3×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i7	Am7	Tonic — home	A · C · E · G	11×
i	Am	Tonic — home	A · C · E	3×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	—
iv7	Dm7	Subdominant — moves away from home	D · F · A · C	10×
v7	Em7	Minor dominant — soft pull	E · G · B · D	22×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VImaj7	Fmaj7	Submediant — warm colour	F · A · C · E	7×
VII	G	Subtonic — steps back to the tonic	G · B · D	—

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 53 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

Em7 Am7 Ciii7 → vi7 Amv7 → i7natural-minor cadence ×10
Em7 Am Ciii7 → vi Amv7 → inatural-minor cadence ×3

The move to watch is Em7 → Am7, heard 10 times. From the Am side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the C side it reads iii7 → vi7. 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 Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
Over Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Dm7, land on D, F, A — 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

Starting on Am7, the song gives away its key from the very first bar. Em7, Am7, Dm7, Fmaj7 carry the song: iii7–vi7–ii7–IVmaj7 relative to C, v7–i7–iv7–VImaj7 relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em7 → Am7 (iii7 → vi7 in C, v7 → i7 in Am): natural-minor cadence — gentle, modal arrival. It closes on Em7, letting the C side have the last word.

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.