Sertab Erener - Söz Bitti (Unutursun) - Chord

Key C major – A minor Chords F, Am, Dm, C#, Gm, E, Em, G Easy key G (capo 5)

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Capo 0

Am                    F  Am
Yarından haber yok dün bitti
                         Dm
Saatler son günü çalıp gitti
              C#      Gm   F
Yeminler yaşlandı dudaklarda
      E            F     Am
Düğümlendi derken söz bitti

   Am                F   Am
Vagonlar bi dolup bi boşaldı
                         Dm
Kuruyan gözlerim yine yaşardı
          C#       Gm    F
Sarardı sırayla fotoğraflar
     E           F    Am       
Ne hayatlar içimde kaldı

      Am
Unutursun için yana yana
      Em
Unutursun ölüm sana bana
       F               Dm
Zaman basıp kanayan yarana
      G       F
Unutursun unutursun

End of song Play again?

Sertab Erener - Söz Bitti (Unutursun) Tabs

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Harmony analysis

Sertab Erener – Söz Bitti (Unutursun): key and chord analysis

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

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)

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 opens on Am, Am is heard 7 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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	—
bII	C#	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	C# · E# · G#	2×
ii	Dm	Supertonic — prepares the dominant	D · F · A	3×
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	2×
IV	F	Subdominant — moves away from home	F · A · C	8×
V	G	Dominant — strongest pull home	G · B · D	1×
v	Gm	Chromatic colour chordoutside the key	G · Bb · D	2×
vi	Am	Relative minor — the melancholy side	A · C · E	7×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	7×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	—
#III	C#	Chromatic colour chordoutside the key	C# · E# · G#	2×
iv	Dm	Subdominant — moves away from home	D · F · A	3×
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	2×
VI	F	Submediant — warm colour	F · A · C	8×
VII	G	Subtonic — steps back to the tonic	G · B · D	1×
vii	Gm	Chromatic colour chordoutside the key	G · Bb · D	2×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 8 different chords appear 26 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. C# is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

F Am CIV → vi AmVI → iVI → i ×4
Dm G Cii → Vii → V Amiv → VII ×1

The move to watch is F → Am, heard 4 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 F, land on F, A, C — 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 Dm, land on D, F, A — 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.
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 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

Starting on Am, the song gives away its key from the very first bar. The chords that keep coming back are F, Am, Dm, C#; read them as IV–vi–ii–bII in C or VI–i–iv–#III in Am. 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. Ending on F, the song seals C 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.