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)
Mahsun Kırmızıgül - Gül Senin Tenin - Chord
Key C major – A minor Chords Em7, Dm7, F, G, Fmaj7, Am Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Em7 Fmaj7
Defalarca denedim olmuyor aşkım
Dm7 G F Em7
Ne yaptıysam ben seni unutamadım
Fmaj7
Bir söz var ya diyorsun gel ayrılalım
Dm7 G F Em7
Ben senden vazgeçemem isteme yok hakkın
Am
Söyle aşkım senden uzak
Em7
Ne fark eder nefes almak
Dm7 Em7
Unutulmak inan bana yok olmak
Am
Söyle aşkım senden uzak
Em7
Ne fark eder nefes almak
Dm7
Vazgeçtim her şeyden bak
F Em7
Bir canım var o da senin olsun al
Em7 F
Gül senin tenin bende güller içinde kafesteyim
Dm7 G F Em7
Vatanım senin yanın bende senin kölenim
End of song Play again?
Mahsun Kırmızıgül - Gül Senin Tenin Tabs
NotesX
Harmony analysis
Mahsun Kırmızıgül – Gül Senin Tenin: key and chord analysis
The song opens on Em7 and ends on Em7. 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 Am is heard 2 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 | — |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 5× |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 9× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 5× |
| IVmaj7 | Fmaj7 | Subdominant — moves away from home | F · A · C · E | 2× |
| V | G | Dominant — strongest pull home | G · B · D | 3× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 2× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 2× |
| 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 | 5× |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 9× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 5× |
| VImaj7 | Fmaj7 | Submediant — warm colour | F · A · C · E | 2× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 3× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 26 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
- Dm7 G Cii7 → Vii → V Amiv7 → VII ×3
- Em7 Am Ciii7 → vi Amv7 → inatural-minor cadence ×2
The move to watch is Dm7 → G, heard 3 times. From the Am side it is iv7 → VII; from the C side it reads ii7 → 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 Em7, land on E, G, B — 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.
- 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
The song is already written in its easiest key for guitar.
The song's harmonic story
The first chord is Em7; the ear learns where home is within a second. The backbone is Em7, Dm7, F, G — iii7–ii7–IV–V from the C side, v7–iv7–VI–VII from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm7 → G (ii7 → V in C, iv7 → VII in Am): ii → V — the classic preparation of the dominant. 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.
Mahsun Kırmızıgül - Gül Senin Tenin 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: Bora DuranMusic: Bora Duran
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