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)
Sena Şener - Çok Geç Kaldın - Chord
Key C major – A minor Chords Am, F, G, Fmaj7, E, Em Easy key G (capo 5)
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Key: C | Am
Capo: 0
Am Am Fmaj7 Fmaj7 Am G Fmaj7
Am F Am F
Kalbim yorguuun
Am F Am F G
İçimde yaralar var göğsümde karanlıklar
Am G F
Sen bana aldırma
Am F Am F
Eksik herşeeey
Am F Am F G
İçimde uçurumlar göğsümde hayatlar var
Am G F
Sen bana aldırma
E
Zamansız geldi sevgin
Fmaj7
Sana ihtiyacım vardı
Am G
Gelmeseydi çok geç
F E
Artık ne fark eder
Am
Olanlar oldu
F
Sevgi öldü
Am
Sen görene kadar
G
Bu çiçek soldu
F E
Artık ne farkeder
Am
Olanlar oldu
F
Sevgi öldü
Am
Sen görene kadar
G
Bir orman yandı
F E
Artık ne farkeder
Am
Çok geç kaldın
Am Am Fmaj7 Fmaj7 Am G Fmaj7
Am F Am F Am F
Vaktim dolduu önümde sıradağlar
Am F G
Kalbimde hayaller var
Am G F
Sen bana aldırma
Am F Am F
Geçse her şey
Am F
Peşimde yaşananlar
Am F G
Kalbimde hevesler var
Am G F
Sen bana aldırma
Em
Zamansız geldi sevgin
Fmaj7
Sana ihtiyacım vardı
Am G
Gelmeseydi çok geç
F E
Artık ne fark eder
Am
Olanlar oldu
F
Sevgi öldü
Am
Sen görene kadar
G
Bu çiçek soldu
F E
Artık ne farkeder
Am
Olanlar oldu
F
Sevgi öldü
Am
Sen görene kadar
G
Bir orman yandı
F E
Artık ne farkeder
Am
Çok geç kaldın
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Sena Şener - Çok Geç Kaldın Tabs
NotesX
Harmony analysis
Sena Şener – Çok Geç Kaldın: key and chord analysis
The song opens on Am 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)
- #7 = G# (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 A minor side because it both starts and finishes on Am, Am is heard 38 times while C never appears and the major V chord points straight at Am. 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 | — |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 1× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | 7× |
| IV | F | Subdominant — moves away from home | F · A · C | 30× |
| IVmaj7 | Fmaj7 | Subdominant — moves away from home | F · A · C · E | 8× |
| V | G | Dominant — strongest pull home | G · B · D | 16× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 38× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 38× |
| 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 | — |
| v | Em | Minor dominant — soft pull | E · G · B | 1× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | 7× |
| VI | F | Submediant — warm colour | F · A · C | 30× |
| VImaj7 | Fmaj7 | Submediant — warm colour | F · A · C · E | 8× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 16× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 100 times in total; 5 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E is V/vi, a secondary dominant heading for Am.
Chord movement
- F Am CIV → vi AmVI → iVI → i ×18
- E Am CV/vi → vi AmV → iharmonic-minor cadence ×6
- Fmaj7 Am CIVmaj7 → vi AmVImaj7 → iVI → i ×6
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×4
- F G CIV → VIV → V AmVI → VIIVI → VII ×4
The move to watch is F → Am, heard 18 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 F, land on F, A, C — 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.
- When E comes, swap the scale's G for G#: 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 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
The opening Am lays a solid floor for everything that follows. The backbone is Am, F, G, Fmaj7 — vi–IV–V–IVmaj7 from the C side, i–VI–VII–VImaj7 from the Am side. E is the interesting twist: in C it is a chromatic chord (V/vi), while in Am it becomes the dominant (V) that makes the minor side sound so determined. 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.
Sena Şener - Çok Geç Kaldın 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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