Major view
G major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F# (leading tone, pulls home)
- 4 = C (the note that leans on the 3rd)
Kenan Doğulu - Tencere Kapak - Chord
Key G major – E minor Chords G, Am, C, D, D7, Em, B7 Difficulty already in its easiest key
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Key: G | Em
Capo: 0
G
Sen Tanrıdan hediyesin
Am
Baharlısın şenliklisin
D
Bazen eser savurur
C
Bazen yanar kavurur
G C G
Bir içim su çok kadehs i n
G
Sen gülünce bizim için
Am
Hep gülümse için için
D
Hayata renk verenlerden
C
Bizi güzel sevenlerden
G C G
Bizim için önemlis i n
Am
Gözlerinde kaybolmuşum
D G
Zaman durmuş mest olmuşum
Em
Zaten başım dönüyor
Am
Seni fazla kaçırmışım
D7 G C G
Dudağından çok içmiş i m
Am
Tencere kapak misaliyiz bu hayatta
D7 G
Sen başla ben tamamlarım ardına bakma
Em Am
Aşk şehrine geldik artık biz bu durakta
D7 G
Yalnız bırakma ne olursun
Am D B7
Parti sen gülünce başlasın
Em Am D7 G
Laylaylaylay lalalalalay lalalalalay lalaylay
Em Am D7 G
Laylaylaylay lalalalalay lalalalalay lalaylay
Am D
Parti sen gülünce başlasın
G
Sen canımdan içerisin
Am
Can yoldaşım kaderimsin
D
Sen en güzel haberimsin
C
Sana düşkünüm bilirsin
G C G
Her şey yalan sen gerçeks i n
G
Dertli başımın tacısın
Am
Ruhumun ihtiyacısın
D
Ciğerimin köşesi
C
Yüreğimin neşesi
G C G
Bahçemin can ağacıs ı n
Am
Seninle tanışmışız
D G
Karışıp kaynaşmışız
Em Am
Elmanın iki yarısıyız
D7
Davet etmişim kalbime
G C G
En güzel kalp ağrısı yız
End of song Play again?
Kenan Doğulu - Tencere Kapak Tabs
NotesX
Harmony analysis
Kenan Doğulu – Tencere Kapak: key and chord analysis
The song opens on G and ends on G. Its chords belong to both G major and Em, so every chord below is read both ways.
Minor view
E minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = C (the minor's melancholy)
- b7 = D (natural-minor colour)
- #7 = D# (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 G major side because it both starts and finishes on G, G is heard 22 times against 5 for Em and the major V chord points straight at Em. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to G or to Em; 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 | G | Tonic — home | G · B · D | 22× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 14× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V7/vi | B7 | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# · A | 1× |
| IV | C | Subdominant — moves away from home | C · E · G | 10× |
| V | D | Dominant — strongest pull home | D · F# · A | 8× |
| V7 | D7 | Dominant — strongest pull home | D · F# · A · C | 6× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 5× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 5× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 22× |
| iv | Am | Subdominant — moves away from home | A · C · E | 14× |
| v | Bm | Minor dominant — soft pull | B · D · F# | — |
| V7 | B7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# · A | 1× |
| VI | C | Submediant — warm colour | C · E · G | 10× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 8× |
| VII7 | D7 | Subtonic — steps back to the tonic | D · F# · A · C | 6× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 7 different chords appear 66 times in total; 6 of them sit naturally inside the shared scale. The major V of Em brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from G, the same B7 is V7/vi, a secondary dominant heading for Em.
Chord movement
- C G GIV → Iplagal cadence EmVI → III ×10
- Am D Gii → Vii → V Emiv → VII ×8
- D7 G GV7 → Iauthentic cadence EmVII7 → III ×6
- Am D7 Gii → V7ii → V Emiv → VII7 ×6
- D G GV → Iauthentic cadence EmVII → III ×3
- B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×1
The move to watch is C → G, heard 10 times. From the G side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Em side it is VI → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
- Over G, land on G, B, D — 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 C, land on C, E, G — the chord's own tones always sound right on strong beats.
- When B7 comes, swap the scale's D for D#: 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 G major shapes
- No capo — open G shapes
- Capo 3 + E shapes
- Capo 5 + D shapes
With E minor shapes
- No capo — open Em shapes
- Capo 2 + Dm shapes
- Capo 7 + Am shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
The first chord is G; the ear learns where home is within a second. The backbone is G, Am, C, D — I–ii–IV–V from the G side, III–iv–VI–VII from the Em side. B7 is the interesting twist: in G it is a chromatic chord (V7/vi), while in Em it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on C → G (IV → I in G, VI → III in Em): plagal cadence — the soft 'amen' ending. Ending on G, the song seals G 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.
Kenan Doğulu - Tencere Kapak 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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