Major view
G major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F# (leading tone, pulls home)
- 4 = C (the note that leans on the 3rd)
Kendimden Hallice - Düşünme Sev - Chord
Key G major – E minor Chords Cmaj7, Am7, Bm7, D Easy key C (capo 7)
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Key: G | Em
Capo: 0
Cmaj7
Sarı ışıkta gördüm seni
D
Kırmızıda geçer gibi
Cmaj7 Am7
Kaza yaptı bütün hayallerim
Cmaj7 D
Ön sözleri yazılmamış bir kitap gibiydin
Cmaj7 Am7
Okudukça, merak ederdim
Cmaj7 Bm7
Yollar uzun, dertler uzun
Am7
Uzak olsan da, gel yanıma
Cmaj7
Uzakta durma gel işte
Bm7
Tuzak mı sanki sevişmek
Am7
Düşün düşün düşünme sev işte
Cmaj7
Uzakta durma gel işte
Bm7
Tuzak mı senle sevişmek
Am7
Düşün düşün düşünme sev işte
End of song Play again?
Kendimden Hallice - Düşünme Sev Tabs
NotesX
Harmony analysis
Kendimden Hallice – Düşünme Sev: key and chord analysis
The song opens on Cmaj7 and ends on Am7. Its chords belong to both G major and Em, so every chord below is read both ways.
Minor view
E minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = C (the minor's melancholy)
- b7 = D (natural-minor colour)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between G major and E minor. Try reading the chords both ways and see which feels more like home to you.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to G or to Em; 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 | G | Tonic — home | G · B · D | — |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 5× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 3× |
| III | B | Chromatic colour chordoutside the key | B · D# · F# | — |
| IVmaj7 | Cmaj7 | Subdominant — moves away from home | C · E · G · B | 7× |
| V | D | Dominant — strongest pull home | D · F# · A | 2× |
| vi | Em | Relative minor — the melancholy side | E · G · B | — |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | — |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 5× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 3× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VImaj7 | Cmaj7 | Submediant — warm colour | C · E · G · B | 7× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 2× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 4 different chords appear 17 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
- Cmaj7 D GIVmaj7 → VIV → V EmVImaj7 → VIIVI → VII ×2
The move to watch is Cmaj7 → D, heard 2 times. From the G side it reads IVmaj7 → V (IV → V: the lift that builds tension before home); from the Em side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
- Over Cmaj7, land on C, E, G — 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 Bm7, land on B, D, F# — 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 G major shapes
- No capo — open G shapes
- Capo 3 + E shapes
- Capo 5 + D shapes
With E minor shapes
- No capo — open Em shapes
- Capo 2 + Dm shapes
- Capo 7 + Am shapes
Easiest keys on guitar
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The first chord is Cmaj7; the ear learns where home is within a second. The backbone is Cmaj7, Am7, Bm7, D — IVmaj7–ii7–iii7–V from the G side, VImaj7–iv7–v7–VII from the Em side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cmaj7 → D (IVmaj7 → V in G, VImaj7 → VII in Em): IV → V — the lift that builds tension before home. It closes on Am7, letting the G 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.
Kendimden Hallice - Düşünme Sev 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: Ozan ÖzalpMusic: Ozan ÖzalpArrangement: Samet Türksal
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