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)
Tuna Kiremitçi - Birden Geldin Aklıma (Sena Şener) - Chord
Key F major – D minor Chords Dm, F, Am, Bb, C Easy key C (capo 5)
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Key: F | Dm
Capo: 0
F Am Dm
Sen yağmuru çok seven küçücük şey
F Am Dm
Ben kendine geç kalan bir kadın
F Am Dm
Beni sevmesen de, görmesen de hayat sürerdi yine
F Am Dm
Ama kendimi sevmezdim şimdiki kadar
F Am Dm
Beni seçmesen de, yok desen de ateş yanardı yine
F Am Dm
Ama gülmeyi bilmezdim şimdiki kadar
Bb C Dm
Birden geldin aklıma yakıverdin ışıkları
Bb C Dm
Hayret ettim kalbime bazen mutluluktan
F Am Dm
Sen kalbime denk gelen küçücük şey
F Am Dm
Ben kendini aşk sanan bir adam
F Am Dm
Beni sevmesen de, görmesen de hayat sürerdi yine
F Am Dm
Ama kendimi sevmezdim şimdiki kadar
F Am Dm
Beni seçmesen de, yok desen de güneş doğardı yine
F Am Dm
Ama gülmeyi bilmezdim şimdiki kadar
End of song Play again?
Tuna Kiremitçi - Birden Geldin Aklıma (Sena Şener) Tabs
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Harmony analysis
Tuna Kiremitçi – Birden Geldin Aklıma (Sena Şener): key and chord analysis
The song opens on F and ends on Dm. 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 comes to rest on Dm, it opens on F and Dm is heard 14 times against 12 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 | 12× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | — |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 12× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 2× |
| V | C | Dominant — strongest pull home | C · E · G | 2× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 14× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 14× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 12× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | — |
| v | Am | Minor dominant — soft pull | A · C · E | 12× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 2× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 2× |
Analysis
The key pair is F major and its relative D minor (1 flat). 5 different chords appear 42 times in total; 5 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
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×12
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×2
- Bb C FIV → VIV → V DmVI → VIIVI → VII ×2
The move to watch is Am → Dm, heard 12 times. From the Dm side it is v → i (natural-minor cadence: gentle, modal arrival); from the F side it reads iii → vi. 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- 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.
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
- 5 semitones down · capo 5 keeps the original pitch
- 2 semitones up
The song's harmonic story
Starting on F, the song gives away its key from the very first bar. Dm, F, Am, Bb carry the song: vi–I–iii–IV relative to F, i–III–v–VI relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am → Dm (iii → vi in F, v → i in Dm): natural-minor cadence — gentle, modal arrival. Ending on Dm, 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.
Tuna Kiremitçi - Birden Geldin Aklıma (Sena Şener) 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: Tuna KiremitçiMusic: Tuna KiremitçiArrangement: Hüseyin Çebişci
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