Major view
B major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A# (leading tone, pulls home)
- 4 = E (the note that leans on the 3rd)
Berkay Altunyay - Sevmedim Senin Kadar - Chord
Key B major – G# minor Chords Bb, Am, Gm, C, Dm Easy key C#
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Key: B | Abm | G#m
Capo: 0
Dm
Yalan ama git dedim sana
Bir daha da sevmedim senin kadar
Bb Am
Hayat senin eserin değil ki
Bir gidişine son olsun
Gm
Aynı derde yanmadık ki
Dm C
Yaksa aşk savursa dünya
Bb
Yan yana gelmem bir daha senle
Gm Am
Bir yalana vefa güdüp
Bb
İçimden atamadım
C Dm
İnada ona söylüyor ah
Gm Am
Kalp buna dayanacak
Bb C
Sen gel diyorsun da
Dm C
Gelemem ayakta durmak bile yük
Bb Am Gm
Ağır ağır sana direndiim
Am
Değil umurunda
Bb
Daha nasıl bana gel diyorsun
Am Gm Am
Gelemem ayakta duymak bile yük
Bb C
Ağır ağır sana
Dm C Bb Gm Am
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Berkay Altunyay - Sevmedim Senin Kadar Tabs
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Harmony analysis
Berkay Altunyay – Sevmedim Senin Kadar: key and chord analysis
The song opens on Dm and ends on Am. Its chords belong to both B major and G#m, so every chord below is read both ways.
Minor view
G# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = E (the minor's melancholy)
- b7 = F# (natural-minor colour)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between B major and G# minor. Try reading the chords both ways and see which feels more like home to you.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to B or to G#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 |
|---|---|---|---|---|
| I | B | Tonic — home | B · D# · F# | — |
| bII | C | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | C · E · G | 6× |
| ii | C#m | Supertonic — prepares the dominant | C# · E · G# | — |
| biii | Dm | Chromatic colour chordoutside the key | D · F · A | 5× |
| iii | D#m | Mediant — a tonic-family shade | D# · F# · A# | — |
| III | D# | Chromatic colour chordoutside the key | D# · G · A# | — |
| IV | E | Subdominant — moves away from home | E · G# · B | — |
| V | F# | Dominant — strongest pull home | F# · A# · C# | — |
| bvi | Gm | Chromatic colour chordoutside the key | G · Bb · D | 6× |
| vi | G#m | Relative minor — the melancholy side | G# · B · D# | — |
| bvii | Am | Chromatic colour chordoutside the key | A · C · E | 8× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| VII | Bb | Chromatic colour chordoutside the key | Bb · D · F | 8× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | G#m | Tonic — home | G# · B · D# | — |
| bii | Am | Chromatic colour chordoutside the key | A · C · E | 8× |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| II | Bb | Chromatic colour chordoutside the key | Bb · D · F | 8× |
| III | B | Relative major — the bright side | B · D# · F# | — |
| #III | C | Chromatic colour chordoutside the key | C · E · G | 6× |
| iv | C#m | Subdominant — moves away from home | C# · E · G# | — |
| #iv | Dm | Chromatic colour chordoutside the key | D · F · A | 5× |
| v | D#m | Minor dominant — soft pull | D# · F# · A# | — |
| V | D# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D# · G · A# | — |
| VI | E | Submediant — warm colour | E · G# · B | — |
| VII | F# | Subtonic — steps back to the tonic | F# · A# · C# | — |
| #vii | Gm | Chromatic colour chordoutside the key | G · Bb · D | 6× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 5 different chords appear 33 times in total; 0 of them sit naturally inside the shared scale. C is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
Improvisation tips
- B major pentatonic and G# minor pentatonic are the same five notes (B – C# – D# – F# – G#): start from B for a brighter phrase, from G# for a bluesier one.
- Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- On C, follow the chord's notes (C · E · G) rather than the key's scale — it's a borrowed colour.
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 B major shapes
- Capo 2 + A shapes
- Capo 4 + G shapes
- Capo 7 + E shapes
With G# minor shapes
- Capo 4 + Em shapes
- Capo 6 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
The first chord is Dm; the ear learns where home is within a second. The chords that keep coming back are Bb, Am, Gm, C; read them as VII–bvii–bvi–bII in B or II–bii–#vii–#III in G#m. C briefly darkens the picture: neapolitan bii — a dark, dramatic colour a half step above the tonic. The final chord is Am; the ear comes to rest in B.
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.
Berkay Altunyay - Sevmedim Senin Kadar 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: Berkay AltunyayMusic: Berkay AltunyayArrangement: Sabi Saltiel, Samed Nalbant
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