Haluk Levent - Sevdana Gönül Verdim - Chord

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

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Capo 0

Am
Sevdana gönül verdim düşürdü beni dilere 
G
Aşkına yürek verdim savurdu beni küllere 
F                     Dm
Ne senle ne de sensiz söz geçmiyor bu yüreğe 
F                   Dm       E
Kelimeler yetersiz sen olmayınca olmuyor 

Am
Sevdana gönül verdim düşürdü beni dillere 
G
Aşkına yürek verdim savurdu beni küllere 
F                     Dm
Ne senle ne de sensiz söz geçmiyor bu yüreğe 
F                    Dm      E
Çabalarım yetersiz sen olmayınca olmuyor 

Am                    Dm
Sevemem senden başka gözüm arar gözlerini 
G                        C
Dil söyler kalbim ağlar yürek çeker özlemini 
F                  Dm
Kulağımdan sesini gözlerimden hayalini 
F      Dm         E
Atamam ah atamam sen olmayınca olmuyor 

Am
Bu yürek daha sessiz daha da sensiz geçiyor 
G
Bu can bedende tene daha da acı veriyor 
F                    Dm
Geleceksin diyerek gözler yolunu gözlüyor 
F                   Dm       E
Çabalarım yetersiz sen olmayınca olmuyor

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Haluk Levent - Sevdana Gönül Verdim Tabs

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Harmony analysis

Haluk Levent – Sevdana Gönül Verdim: key and chord analysis

The song opens on Am and ends on E. 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)
#7 = G# (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 A minor side because it opens on Am, Am is heard 4 times against 1 for C and the major V chord points straight at Am. 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	1×
ii	Dm	Supertonic — prepares the dominant	D · F · A	9×
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	4×
IV	F	Subdominant — moves away from home	F · A · C	8×
V	G	Dominant — strongest pull home	G · B · D	4×
vi	Am	Relative minor — the melancholy side	A · C · E	4×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	4×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	1×
iv	Dm	Subdominant — moves away from home	D · F · A	9×
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	4×
VI	F	Submediant — warm colour	F · A · C	8×
VII	G	Subtonic — steps back to the tonic	G · B · D	4×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 30 times in total; 5 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E is V/vi, a secondary dominant heading for Am.

Chord movement

Dm E Cii → V/vi Amiv → Viv → V ×4
E Am CV/vi → vi AmV → iharmonic-minor cadence ×3
G C CV → Iauthentic cadence AmVII → III ×1
Dm G Cii → Vii → V Amiv → VII ×1

The move to watch is Dm → E, heard 4 times. From the Am side it is iv → V (iv → V: the minor side's tension builder); from the C side it reads ii → V/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 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.
When E comes, swap the scale's G for G#: 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 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

Starting on Am, the song gives away its key from the very first bar. The backbone is Dm, F, Am, G — ii–IV–vi–V from the C side, iv–VI–i–VII from the Am side. E is the interesting twist: in C it is a chromatic chord (V/vi), while in Am it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Dm → E (ii → V/vi in C, iv → V in Am): iv → V — the minor side's tension builder. Ending on E, 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.