Major view
A major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G# (leading tone, pulls home)
- 4 = D (the note that leans on the 3rd)
Kendimden Hallice - Sevmiştim - Chord
Key A major – F# minor Chords C#m7, Bm7, Dmaj7, E, F#m, C#7, Amaj7, G#m7 Easy key C
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Key: A | Gbm | F#m
Capo: 0
Dmaj7 C#m7 Bm7
Sevmiştim ben de
C#m7 Bm7 C#m7 F#m
Yemin ederim azcık canım yandı
Dmaj7 C#m7 Bm7 C#m7 Bm7
Sevmiştik aşkı beraber tatmıştık
C#m7 Amaj7 G#m7 C#7
Tatlıydı ama yanmıştık
Dmaj7
Bizden sonra
E Dmaj7
Ne zaman öpsem susarım
E Dmaj7
Ne zaman içsem kusarım
C#m7 Bm7
Ne zaman sevişsem ağlarım
C#m7 Bm7 E
Ne zaman sevişsem ağlarım
F#m Bm7 C#m7
Bu yüzden her şeye sinirim
F#m Bm7 C#m7
Aşkı ben sensizliğe yiterim
F#m Dmaj7 E Bm7
Bağışlanmaz belki sevişmelerim
C#7
Ama olsun
Dmaj7
Bizden sonra
E Dmaj7
Ne zaman öpsem susarım
E Dmaj7
Ne zaman içsem kusarım
C#m7 Bm7 E
Ne zaman sevişsem ağlarım
F#m Bm7 C#m7
Bu yüzden her şeye sinirim
F#m Bm7 C#m7
Aşkı ben sensizliğe yiterim
F#m Dmaj7 E Bm7
Bağışlanmaz belki sevişmelerim
C#7
Ama olsun
End of song Play again?
Kendimden Hallice - Sevmiştim Tabs
NotesX
Harmony analysis
Kendimden Hallice – Sevmiştim: key and chord analysis
The song opens on Dmaj7 and ends on C#7. Its chords belong to both A major and F#m, so every chord below is read both ways.
Minor view
F# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = D (the minor's melancholy)
- b7 = E (natural-minor colour)
- #7 = E# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F# minor side because F#m is heard 7 times against 1 for A and the major V chord points straight at F#m. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 A or to F#m; 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 |
|---|---|---|---|---|
| Imaj7 | Amaj7 | Tonic — home | A · C# · E · G# | 1× |
| ii7 | Bm7 | Supertonic — prepares the dominant | B · D · F# · A | 13× |
| iii7 | C#m7 | Mediant — a tonic-family shade | C# · E · G# · B | 13× |
| V7/vi | C#7 | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# · B | 3× |
| IVmaj7 | Dmaj7 | Subdominant — moves away from home | D · F# · A · C# | 10× |
| V | E | Dominant — strongest pull home | E · G# · B | 8× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 7× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| vii7 | G#m7 | Chromatic colour chordoutside the key | G# · B · D# · F# | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 7× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| ii7 | G#m7 | Chromatic colour chordoutside the key | G# · B · D# · F# | 1× |
| IIImaj7 | Amaj7 | Relative major — the bright side | A · C# · E · G# | 1× |
| iv7 | Bm7 | Subdominant — moves away from home | B · D · F# · A | 13× |
| v7 | C#m7 | Minor dominant — soft pull | C# · E · G# · B | 13× |
| V7 | C#7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# · B | 3× |
| VImaj7 | Dmaj7 | Submediant — warm colour | D · F# · A · C# | 10× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 8× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 8 different chords appear 56 times in total; 6 of them sit naturally inside the shared scale. The major V of F#m brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from A, the same C#7 is V7/vi, a secondary dominant heading for F#m. G#m7 step outside the scale as colour chords.
Chord movement
- Dmaj7 E AIVmaj7 → VIV → V F#mVImaj7 → VIIVI → VII ×6
- C#m7 F#m Aiii7 → vi F#mv7 → inatural-minor cadence ×5
- E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×2
- Bm7 E Aii7 → Vii → V F#miv7 → VII ×2
- Bm7 C#7 Aii7 → V7/vi F#miv7 → V7iv → V ×2
The move to watch is Dmaj7 → E, heard 6 times. From the F#m side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic); from the A side it reads IVmaj7 → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
- Over C#m7, land on C#, E, G# — 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.
- Over Dmaj7, land on D, F#, A — the chord's own tones always sound right on strong beats.
- When C#7 comes, swap the scale's E for E#: that single note is the harmonic-minor sound of the chord.
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 A major shapes
- No capo — open A shapes
- Capo 2 + G shapes
- Capo 5 + E shapes
With F# minor shapes
- Capo 2 + Em shapes
- Capo 4 + Dm shapes
Easiest keys on guitar
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
Starting on Dmaj7, the song gives away its key from the very first bar. C#m7, Bm7, Dmaj7, E carry the song: iii7–ii7–IVmaj7–V relative to A, v7–iv7–VImaj7–VII relative to F#m. C#7 is the interesting twist: in A it is a chromatic chord (V7/vi), while in F#m it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Dmaj7 → E (IVmaj7 → V in A, VImaj7 → VII in F#m): VI → VII — the rising step that heads for the tonic. The final chord is C#7; the ear comes to rest in A.
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 - Sevmiştim 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
Ozan Özalp
Ozan Özalp
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