Redd - Seni Buldum - Chord

Key C major – A minor Chords Am, D, C, B, F Easy key G (capo 5)

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Capo 0

Am                          D
Sana fena halde benziyor güzellik
Am                              D
Ama aynaya bakma senden biraz çirkin
C                      Am              
En uzak cebe saklanmış bir anahtar gibi
C                 Am        
Biraz geç de olsa açacak kapıyı sana
       B                D
Sözcükler hazır dudaklarımda         

         Am       C            F          
Seni buldum arıyordum kaybetmem bir daha

Am                             D
Beni kendimden geçiriyor güzelliğin
Am                                     D
Ama sakın uyandırma bırak uyuşsun kalbim
C                       Am           
En uzak şehre yürürken çıplak ayaklarımla
C                  Am           
Gördüğüm her çiçeği topladım yolda
          B             D
Sözcükler hazır dudaklarımda         

         Am       C            F          
Seni buldum arıyordum kaybetmem bir daha

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Redd - Seni Buldum Tabs

NotesX

Harmony analysis

Redd – Seni Buldum: key and chord analysis

The song opens on Am and ends on F. 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 opens on Am and Am is heard 10 times against 6 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
I	C	Tonic — home	C · E · G	6×
ii	Dm	Supertonic — prepares the dominant	D · F · A	—
II	D	Chromatic colour chordoutside the key	D · F# · A	6×
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	2×
V	G	Dominant — strongest pull home	G · B · D	—
vi	Am	Relative minor — the melancholy side	A · C · E	10×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—
VII	B	Chromatic colour chordoutside the key	B · D# · F#	2×

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	10×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
II	B	Chromatic colour chordoutside the key	B · D# · F#	2×
III	C	Relative major — the bright side	C · E · G	6×
iv	Dm	Subdominant — moves away from home	D · F · A	—
IV	D	Major IV — Dorian / melodic-minor colourmodal colour	D · F# · A	6×
v	Em	Minor dominant — soft pull	E · G · B	—
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	2×
VII	G	Subtonic — steps back to the tonic	G · B · D	—

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 26 times in total; 3 of them sit naturally inside the shared scale. D, B step outside the scale as colour chords.

Chord movement

F Am CIV → vi AmVI → iVI → i ×1

The move to watch is F → Am, heard once. From the Am side it is VI → i (VI → i: falls a half step into home); from the C side it reads IV → vi. 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over D, 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.

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

5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

The first chord is Am; the ear learns where home is within a second. The chords that keep coming back are Am, D, C, B; read them as vi–II–I–VII in C or i–IV–III–II in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → Am (IV → vi in C, VI → i in Am): VI → i — falls a half step into home. Ending on F, the song seals C 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.