Major view
Eb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D (leading tone, pulls home)
- 4 = Ab (the note that leans on the 3rd)
Selin - Ne Senle Ne Sensiz - Chord
Key Eb major – C minor Chords Fm, Bb, Abmaj7, Cm Easy key G
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Key: Eb | Cm
Capo: 0
Fm Cm Bb Abmaj7
Fm Cm
Aradım defalarca, yanayım yanacaksam
Bb Abmaj7
Seni bulamayınca, uykudan uyandım (uykudan uyandım)
Fm
Ne zaman bitecek bu hüzün, bu keder
Cm
Sonu yok mu bunun?
Denedik ama kırdın güvenimi
Bb
Peki kimdi suçlu?
Abmaj7
Derdin ne kalbimle, oynadın durdun
Bb Abmaj7
Yavaş yavaş kaçar zaman elimizden
Fm Cm
Ezelden yolumuz uzun, sonunu göremiyoruz
Bb
Hissettirdin değersiz
Abmaj7
Ne senle, ne sensiz, yapamıyorum
Fm
Ezelden yolumuz uzun
Fm Cm Bb Abmaj7
Fm Cm
Üşüdüm her geçen gün, ta ki seni unutana kadar
Bb
Kaldım kendimle yine bi başıma
Abmaj7
Uykudan uyandım, uykudan uyandım
End of song Play again?
Selin - Ne Senle Ne Sensiz Tabs
NotesX
Harmony analysis
Selin – Ne Senle Ne Sensiz: key and chord analysis
The song opens on Fm and ends on Abmaj7. Its chords belong to both Eb major and Cm, so every chord below is read both ways.
Minor view
C minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Ab (the minor's melancholy)
- b7 = Bb (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the C minor side because Cm is heard 6 times while Eb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 | Eb | Tonic — home | Eb · G · Bb | — |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 7× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | — |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IVmaj7 | Abmaj7 | Subdominant — moves away from home | Ab · C · Eb · G | 7× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 7× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 6× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 6× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | — |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 7× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | — |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VImaj7 | Abmaj7 | Submediant — warm colour | Ab · C · Eb · G | 7× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 7× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 4 different chords appear 27 times in total; 4 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
- Fm Cm Ebii → vi Cmiv → iminor plagal ×6
- Abmaj7 Bb EbIVmaj7 → VIV → V CmVImaj7 → VIIVI → VII ×1
The move to watch is Fm → Cm, heard 6 times. From the Cm side it is iv → i (minor plagal: deep and melancholic); from the Eb side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
- Over Fm, land on F, Ab, C — 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.
- Over Abmaj7, land on Ab, C, Eb — 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 Eb major shapes
- Capo 1 + D shapes
- Capo 3 + C shapes
- Capo 6 + A shapes
With C minor shapes
- Capo 3 + Am shapes
Easiest keys on guitar
- 4 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is Fm; the ear learns where home is within a second. The chords that keep coming back are Fm, Bb, Abmaj7, Cm; read them as ii–V–IVmaj7–vi in Eb or iv–VII–VImaj7–i in Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Cm (ii → vi in Eb, iv → i in Cm): minor plagal — deep and melancholic. Ending on Abmaj7, the song seals Eb 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.
Selin - Ne Senle Ne Sensiz 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: Selin Geçit, Uğurhan Özay, Mert ÇodurMusic: Selin Geçit, Emirhan Özer
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