Merve Özbey - Vicdanın Affetsin - Chord

Key C major – A minor Chords F, Cmaj7, Dm7, G, Em, Am7, Am Difficulty already in its easiest key

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Capo 0

F                             Cmaj7           Am7
Gitme beni üzme biraz olsun hatırım yok mu gitme 
F                                  Cmaj7         Am7
Duyma beni duyma ama kalbimin sözü var dinle, dinle
Dm7                      G
Yalvarıp aşkını dilenmek ağlamamak için direnmek
Em                     Cmaj7                 F
Senin yüzünden üzülmek sana elveda demek var mı

F                   Em                   Dm7
Bir kırık kalp ah etti söz söylenmez üstüne
                   G                  Am
Seni vicdanın affetsin benden af bekleme
                    Em                   Dm7
Bir kırık kalp ah etti söz söylenmez üstüne
                   G                  Am
Seni vicdanın affetsin benden af bekleme

End of song Play again?

Merve Özbey - Vicdanın Affetsin Tabs

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Harmony analysis

Merve Özbey – Vicdanın Affetsin: key and chord analysis

The song opens on F and ends on Am. 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the A minor side because it comes to rest on Am and Am is heard 4 times against 3 for C. 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
Imaj7	Cmaj7	Tonic — home	C · E · G · B	3×
ii7	Dm7	Supertonic — prepares the dominant	D · F · A · C	3×
iii	Em	Mediant — a tonic-family shade	E · G · B	3×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	4×
V	G	Dominant — strongest pull home	G · B · D	3×
vi7	Am7	Relative minor — the melancholy side	A · C · E · G	2×
vi	Am	Relative minor — the melancholy side	A · C · E	2×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i7	Am7	Tonic — home	A · C · E · G	2×
i	Am	Tonic — home	A · C · E	2×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
IIImaj7	Cmaj7	Relative major — the bright side	C · E · G · B	3×
iv7	Dm7	Subdominant — moves away from home	D · F · A · C	3×
v	Em	Minor dominant — soft pull	E · G · B	3×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	4×
VII	G	Subtonic — steps back to the tonic	G · B · D	3×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 20 times in total; 7 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

Dm7 G Cii7 → Vii → V Amiv7 → VII ×3
F Cmaj7 CIV → Imaj7plagal cadence AmVI → IIImaj7 ×2
G Am CV → videceptive cadence AmVII → iAeolian arrival ×2

The move to watch is Dm7 → G, heard 3 times. From the Am side it is iv7 → VII; from the C side it reads ii7 → V (ii → V: the classic preparation of the dominant). 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 Cmaj7, land on C, E, G — the chord's own tones always sound right on strong beats.
Over Dm7, land on D, F, A — 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 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

The song is already written in its easiest key for guitar.

The song's harmonic story

The opening F lays a solid floor for everything that follows. F, Cmaj7, Dm7, G carry the song: IV–Imaj7–ii7–V relative to C, VI–IIImaj7–iv7–VII relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm7 → G (ii7 → V in C, iv7 → VII in Am): ii → V — the classic preparation of the dominant. The final chord is Am; the ear comes to rest in Am.

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.