Simge - Teni Tenime - Chord

Key Eb major – C minor Chords G7, Ab, Fm7 Easy key G

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Capo 0

Ab  Fm7  G7  G7
x4

Ab        Fm7    G7               Ab
Yakıştı teni tenime, kimse gibi değil
         Fm7     G7
Yazılmış o kaderime
Ab    Fm7      G7               Ab
Gezerken bedenimi, bulmuş tarifini
       Fm7        G7
Tadı kazındı kalbime
x2

Ab   Fm7     G7 
 Günden güne sevdam büyür
       Ab     Fm7   G7 
 Çünkü yoksun yine eskisi gibi
Ab     Fm7          G7
 Dertlerim başımdan aşkın ama
      Ab        Fm7     G7 
Değil hiçbiri sana olan aşkım gibi

Ab  Fm7   G7                Ab   Fm7         G7 
         Ağladım kendi kendime, üzülmedin mi hiç?
              Ab   Fm7
Giderken özle bari
G7                 Ab      Fm7          G7 
Dönersen gözyaşlarımın hesabını sorarım tek tek

Ab  Fm7   G7               Ab
  Hayal ettim dudaklarımda sen
Fm7            G7  Ab    Fm7    G7
Aklımda yok şüphe,   yaralarımı sar
          Ab     Fm7     G7 
Bu gece yanar ateşin içimde

Ab        Fm7    G7               Ab
Yakıştı teni tenime, kimse gibi değil
         Fm7     G7
Yazılmış o kaderime
Ab    Fm7      G7               Ab
Gezerken bedenimi, bulmuş tarifini
       Fm7        G7
Tadı kazındı kalbime
x2

Ab    Fm7          G7 
Kimse bilmez nasıl yandık ah
Ab    Fm7      G7  
Her kusuru aşk yaptık ah
Ab     Fm7        G7 
Seni benim için yaratmış tanrım
Ab          Fm7    G7 
Sinirliyken bile seviştik ah
  
Ab  Fm7   G7               Ab
  Hayal ettim dudaklarımda sen
Fm7            G7  Ab    Fm7    G7
Aklımda yok şüphe,   yaralarımı sar
          Ab     Fm7     G7 
Bu gece yanar ateşin içimde

End of song Play again?

Simge - Teni Tenime Tabs

NotesX

Harmony analysis

Simge – Teni Tenime: key and chord analysis

The song opens on Ab and ends on G7. Its chords belong to both Eb major and Cm, so every chord below is read both ways.

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)

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (natural-minor colour)
#7 = B (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 C minor side because the major V chord points straight at Cm. 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.

Seen from Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	—
ii7	Fm7	Supertonic — prepares the dominant	F · Ab · C · Eb	29×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	—
III7	G7	Chromatic colour chordoutside the key	G · B · D · F	30×
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	29×
V	Bb	Dominant — strongest pull home	Bb · D · F	—
vi	Cm	Relative minor — the melancholy side	C · Eb · G	—
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	—
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	—
iv7	Fm7	Subdominant — moves away from home	F · Ab · C · Eb	29×
v	Gm	Minor dominant — soft pull	G · Bb · D	—
V7	G7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D · F	30×
VI	Ab	Submediant — warm colour	Ab · C · Eb	29×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	—

Analysis

The key pair is Eb major and its relative C minor (3 flats). 3 different chords appear 88 times in total; 2 of them sit naturally inside the shared scale. The major V of Cm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull.

Chord movement

Fm7 G7 Ebii7 → III7 Cmiv7 → V7iv → V ×29

The move to watch is Fm7 → G7, heard 29 times. From the Cm side it is iv7 → V7 (iv → V: the minor side's tension builder); from the Eb side it reads ii7 → III7. 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 G7, land on G, B, D — the chord's own tones always sound right on strong beats.
Over Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
Over Fm7, land on F, Ab, C — the chord's own tones always sound right on strong beats.
When G7 comes, swap the scale's Bb for B: 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 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

Starting on Ab, the song gives away its key from the very first bar. The backbone is G7, Ab, Fm7 — III7–IV–ii7 from the Eb side, V7–VI–iv7 from the Cm side. G7 is the interesting twist: in Eb it is a chromatic chord (III7), while in Cm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Fm7 → G7 (ii7 → III7 in Eb, iv7 → V7 in Cm): iv → V — the minor side's tension builder. The final chord is G7; the ear comes to rest in Eb.

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.