Sena Şener - Kaybettiklerimi Geri Ver - Chord

Key G major – E minor Chords Em, D, C, F#dim, B7, G Difficulty already in its easiest key

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Capo 0

Em  Em  Em  D

Em        D              Em
Koca bir taş koydular karşıma
         D               Em
Yont dediler, kendi kendine
        D          C              D
Şiirler yazdım, şarkılar söyledim de
          Em           F#dim
Kırılmadı tek bir parçası
C            B7
Tek bir parçası

C                 Em
Ben de bir taş oldum
        D          C
Kimseyi almadım içime
                 Em
Bir yola baş koydum
         D    G     C  Em   C
Dağ gibiydim, kum olduuuuuuuum
  B7
Aynan oldum 

Em           F#dim
Kaybettiklerimi geri ver
Em            D      Em
Kaybettiğim senin değil
             F#dim
Kaybettiklerimi geri ver
Em          D     C     D       Em
Kaybettiğim her şeyim aynı değilim
              Em    C
Dağ gibiydim, kum oldum 
  B7
Aynan oldum
      Em
Sen oldum

Em       D            Em
Daha hiç solmamış renklerim
         D           Em
Suç değildim dillerinde
      D            C              D
İçimde gerçeğim vardı, ne yaptılarsa
          Em           F#dim
Kırılmadı tek bir parçası
C            B7
Tek bir parçası

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Sena Şener - Kaybettiklerimi Geri Ver Tabs

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Harmony analysis

Sena Şener – Kaybettiklerimi Geri Ver: key and chord analysis

The song opens on Em and ends on B7. Its chords belong to both G major and Em, so every chord below is read both ways.

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)

Minor view

E minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = C (the minor's melancholy)
b7 = D (natural-minor colour)
#7 = D# (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 E minor side because it opens on Em, Em is heard 21 times against 1 for G and the major V chord points straight at Em. That is an interpretation, not a rule — the same chords are just as valid seen from G 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 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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	1×
ii	Am	Supertonic — prepares the dominant	A · C · E	—
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V7/vi	B7	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F# · A	4×
IV	C	Subdominant — moves away from home	C · E · G	10×
V	D	Dominant — strongest pull home	D · F# · A	14×
vi	Em	Relative minor — the melancholy side	E · G · B	21×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	4×

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	21×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	4×
III	G	Relative major — the bright side	G · B · D	1×
iv	Am	Subdominant — moves away from home	A · C · E	—
v	Bm	Minor dominant — soft pull	B · D · F#	—
V7	B7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F# · A	4×
VI	C	Submediant — warm colour	C · E · G	10×
VII	D	Subtonic — steps back to the tonic	D · F# · A	14×

Analysis

The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 54 times in total; 5 of them sit naturally inside the shared scale. The major V of Em brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from G, the same B7 is V7/vi, a secondary dominant heading for Em.

Chord movement

D Em GV → videceptive cadence EmVII → iAeolian arrival ×9
C D GIV → VIV → V EmVI → VIIVI → VII ×3
C Em GIV → vi EmVI → iVI → i ×3
B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×2
D G GV → Iauthentic cadence EmVII → III ×1

The move to watch is D → Em, heard 9 times. From the Em side it is VII → i (Aeolian arrival: rises a whole tone into home); from the G side it reads V → vi (deceptive cadence: expected G, lands on Em). 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 Em, land on E, G, B — the chord's own tones always sound right on strong beats.
Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
When B7 comes, swap the scale's D for D#: 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 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

The song is already written in its easiest key for guitar.

The song's harmonic story

The opening Em lays a solid floor for everything that follows. Em, D, C, F#dim carry the song: vi–V–IV–vii° relative to G, i–VII–VI–ii° relative to Em. B7 is the interesting twist: in G it is a chromatic chord (V7/vi), while in Em it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on D → Em (V → vi in G, VII → i in Em): Aeolian arrival — rises a whole tone into home. It closes on B7, 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.