Sena Şener - Porselen Kalbim - Chord

Key F major – D minor Chords C, Dm, Bb, A, Edim, Gm, B, Am Easy key C (capo 5)

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Capo 0

  Dm
Benim porselen kalbim
  C
Karanlık bir çağa düşmüş
B
Tek başına savaşırken
A
Bir aşka esir olmuş
C                       Dm    C
Yüz bin parça, hepsi sevgisiz

  Dm
Benim porselen kalbim
C
Herkese duvar örmüş
Bb
Büyük bir kumar ortasında
A         Am
Gerçeğe göğüs germiş
C                      Dm   C
Yüz bin parça, hepsi çaresiz

  Bb            Dm   C
Benimle oyunlar oynadın
  Bb              Dm
Kırıldıktan sonra topladın
     C
Aynı olmadı

Bb                          Edim
 Sen hatırlamazsın, ben unutmam
         A
Nasıl yandım
        Bb      Gm
Yüreğim kandı sana
     A
Bir umut avunmaya

Bb                          Edim
 Sen hatırlamazsın, ben unutmam
         A
Nasıl kıydın
        Bb      Gm
Yüreğim kandı sana
     A         Dm
Bir umut avunmaya 

  Dm
Benim porselen kalbim
  C
Yalandan bir tenha bulmuş 
B
Öfke dolup taşıyorken
A         Am
Bir aşka esir olmuş 
C                       Dm    C
Yüz bin parça, hepsi sevgisiz

  Dm
Benim porselen kalbim 
  C
Kendine de duvar örmüş 
  B
Çürük bir köprü ortasında
A        Am
Ruhuna veda etmiş
C                       Dm    C
Yüz bin parça, hepsi çaresiz 

  Bb            Dm   C
Benimle oyunlar oynadın
  Bb              Dm
Kırıldıktan sonra topladın
     C
Aynı olmadı

Bb                          Edim
 Sen hatırlamazsın, ben unutmam
         A
Nasıl yandım
        Bb      Gm
Yüreğim kandı sana
     A
Bir umut avunmaya

Bb                          Edim
 Sen hatırlamazsın, ben unutmam
         A
Nasıl kıydın
        Bb      Gm
Yüreğim kandı sana
     A         Dm
Bir umut avunmaya 

Bb         C                Dm
Porselen kalbim, ne yapsan alınır
Bb         C             Dm
Porselen kalbim, kendine de kırılır

End of song Play again?

Sena Şener - Porselen Kalbim Tabs

NotesX

Harmony analysis

Sena Şener – Porselen Kalbim: key and chord analysis

The song opens on Dm and ends on Dm. Its chords belong to both F major and Dm, so every chord below is read both ways.

Major view

F major

Brightness rank 2/7 (bright)

Characteristic notes

7 = E (leading tone, pulls home)
4 = Bb (the note that leans on the 3rd)

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (natural-minor colour)
#7 = C# (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 D minor side because it both starts and finishes on Dm, Dm is heard 16 times while F never appears and the major V chord points straight at Dm. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	4×
iii	Am	Mediant — a tonic-family shade	A · C · E	3×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	12×
IV	Bb	Subdominant — moves away from home	Bb · D · F	15×
#IV	B	Chromatic colour chordoutside the key	B · D# · F#	3×
V	C	Dominant — strongest pull home	C · E · G	18×
vi	Dm	Relative minor — the melancholy side	D · F · A	16×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	4×

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	16×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	4×
III	F	Relative major — the bright side	F · A · C	—
iv	Gm	Subdominant — moves away from home	G · Bb · D	4×
v	Am	Minor dominant — soft pull	A · C · E	3×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	12×
VI	Bb	Submediant — warm colour	Bb · D · F	15×
#VI	B	Chromatic colour chordoutside the key	B · D# · F#	3×
VII	C	Subtonic — steps back to the tonic	C · E · G	18×

Analysis

The key pair is F major and its relative D minor (1 flat). 8 different chords appear 75 times in total; 6 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A is V/vi, a secondary dominant heading for Dm. B step outside the scale as colour chords.

Chord movement

C Dm FV → videceptive cadence DmVII → iAeolian arrival ×8
Bb Dm FIV → vi DmVI → iVI → i ×4
Edim A Fvii° → V/vi Dmii° → Vii° → V ×4
Gm A Fii → V/vi Dmiv → Viv → V ×4
A Dm FV/vi → vi DmV → iharmonic-minor cadence ×2
Bb C FIV → VIV → V DmVI → VIIVI → VII ×2

The move to watch is C → Dm, heard 8 times. From the Dm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the F side it reads V → vi (deceptive cadence: expected F, lands on Dm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
When A comes, swap the scale's C for C#: 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 F major shapes

Capo 1 + E shapes
Capo 3 + D shapes
Capo 5 + C shapes

With D minor shapes

No capo — open Dm shapes
Capo 5 + Am shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

The opening Dm lays a solid floor for everything that follows. The backbone is C, Dm, Bb, A — V–vi–IV–V/vi from the F side, VII–i–VI–V from the Dm side. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on C → Dm (V → vi in F, VII → i in Dm): Aeolian arrival — rises a whole tone into home. Ending on Dm, the song seals Dm as home.

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.