Major view
F major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = E (leading tone, pulls home)
- 4 = Bb (the note that leans on the 3rd)
Burak Erkorkmaz - Senden Değil - Chord
Key F major – D minor Chords Dm7, C, Gm7, F Easy key G
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Key: F | Dm
Capo: 0
Dm7 F Gm7 C Dm7 F Gm7 C Dm7
C Dm7
Nasıl başlanır böyle sözlere, hiç bilmem ben
C Dm7
Nasıl gidilir bir kalpten, öylece
Gm7 C Dm7
Beni düşünmedin sen, yüzüme bile bakmadın
Gm7 C
Belki gitmek kolaydı ama bari sözünde dursaydın
Dm7 F Gm7
Yok içimi saran keder artık senden değil
C Dm7
Ne mağlubu ne galibi dümdüz biz kaybettik
F Gm7
Yaşananlara bir bak, halim hiç kalmadı
C Dm7
Öldürdün beni sen bir daha kalp atmadı
Dm7 F Gm7 C Dm7 F Gm7 C Dm7
C Dm7
Nasıl sevilir tekrar, hiç bilmem ben
C Dm7
Bir portakal ya da limon gölgesinde eser
Gm7 C Dm7
Seni düşünmedim ben, hep haklıyım sandım
Gm7 C Dm7
Ne çok büyüdük biz, hala bir el tutamadık
Dm7 F Gm7
Yok içimi saran keder artık senden değil
C Dm7
Ne mağlubu ne galibi dümdüz biz kaybettik
F Gm7
Yaşananlara bir bak, halim hiç kalmadı
C Dm7
Öldürdün beni sen bir daha kalp atmadı
End of song Play again?
Burak Erkorkmaz - Senden Değil Tabs
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Harmony analysis
Burak Erkorkmaz – Senden Değil: key and chord analysis
The song opens on Dm7 and ends on Dm7. Its chords belong to both F major and Dm, so every chord below is read both ways.
Minor view
D minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Bb (the minor's melancholy)
- b7 = C (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the D minor side because it both starts and finishes on Dm and Dm is heard 19 times against 8 for F. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 | F | Tonic — home | F · A · C | 8× |
| ii7 | Gm7 | Supertonic — prepares the dominant | G · Bb · D · F | 12× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | — |
| V | C | Dominant — strongest pull home | C · E · G | 16× |
| vi7 | Dm7 | Relative minor — the melancholy side | D · F · A · C | 19× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Dm7 | Tonic — home | D · F · A · C | 19× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 8× |
| iv7 | Gm7 | Subdominant — moves away from home | G · Bb · D · F | 12× |
| v | Am | Minor dominant — soft pull | A · C · E | — |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | — |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 16× |
Analysis
The key pair is F major and its relative D minor (1 flat). 4 different chords appear 55 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
- C Dm7 FV → vi7deceptive cadence DmVII → i7Aeolian arrival ×16
- Gm7 C Fii7 → Vii → V Dmiv7 → VII ×12
The move to watch is C → Dm7, heard 16 times. From the Dm side it is VII → i7 (Aeolian arrival: rises a whole tone into home); from the F side it reads V → vi7 (deceptive cadence: expected F, lands on Dm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
- Over Dm7, 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.
- Over Gm7, land on G, Bb, D — 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 F major shapes
- Capo 1 + E shapes
- Capo 3 + D shapes
- Capo 5 + C shapes
With D minor shapes
- No capo — open Dm shapes
- Capo 5 + Am shapes
Easiest keys on guitar
- 2 semitones up
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
The opening Dm7 lays a solid floor for everything that follows. Dm7, C, Gm7, F carry the song: vi7–V–ii7–I relative to F, i7–VII–iv7–III relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → Dm7 (V → vi7 in F, VII → i7 in Dm): Aeolian arrival — rises a whole tone into home. Ending on Dm7, the song seals Dm 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.
Burak Erkorkmaz - Senden Değil 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: Burak ErkorkmazMusic: Burak Erkorkmaz
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