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)
Haluk Levent - Sen Gidince - Chord
Key G major – E minor Chords Em, D, G, Am, C, B Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Em G D Am
Sen gidince buralardan sessizce
Em G D Am
Buralar gitmiş peşinden gizlice
Em G
Bazen bir his ya da kaçış
D Am
Tenin hala tenimde
Em D C
Dünümdün düşüm oldun kurtar beni
Em G D Am
Sen dün gidince buralardan sessizce
Em G D Am
Bedenim çıkmış içimden gizlice
Em G
Bir aldanış ya da kaçış
D Am
Tenin hala tenimde
Em D C
Dünümdün düşüm oldun kurtar beni
D C B Em
Kitaplarım gitti peşinden, sonra kahramanlarım
D C
Çocukluğum kayboluverdi nerdeler
Em
Oyuncaklarım, oyuncaklarım
D C B Em
İsmini tadamadım hiçbir yerde, zamansız hallerdeyim
D C
Söyle nerdeyim nerde
Em
Düşler içinde, düşler içinde.
Em G D Am
Sen gidince buralardan sessizce
Em G D Am
Buralar gitmiş peşinden gizlice
Em G
Bazen bir his ya da kaçış
D Am
Tenin hala tenimde
Em D C
Dünümdün düşüm oldun kurtar beni
End of song Play again?
Haluk Levent - Sen Gidince Tabs
NotesX
Harmony analysis
Haluk Levent – Sen Gidince: key and chord analysis
The song opens on Em and ends on C. 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 E minor side because it opens on Em, Em is heard 16 times against 9 for G and the major V chord points straight at Em. That is an interpretation, not a rule — the same chords are just as valid seen from G 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 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 | 9× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 9× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | 2× |
| IV | C | Subdominant — moves away from home | C · E · G | 7× |
| V | D | Dominant — strongest pull home | D · F# · A | 16× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 16× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 16× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 9× |
| iv | Am | Subdominant — moves away from home | A · C · E | 9× |
| v | Bm | Minor dominant — soft pull | B · D · F# | — |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | 2× |
| VI | C | Submediant — warm colour | C · E · G | 7× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 16× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 59 times in total; 5 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 B is V/vi, a secondary dominant heading for Em.
Chord movement
- Am Em Gii → vi Emiv → iminor plagal ×9
- C Em GIV → vi EmVI → iVI → i ×3
- B Em GV/vi → vi EmV → iharmonic-minor cadence ×2
- C D GIV → VIV → V EmVI → VIIVI → VII ×1
The move to watch is Am → Em, heard 9 times. From the Em side it is iv → i (minor plagal: deep and melancholic); from the G side it reads ii → vi. 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 Em, land on E, G, B — 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 G, land on G, B, D — the chord's own tones always sound right on strong beats.
- When B 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
Starting on Em, the song gives away its key from the very first bar. Em, D, G, Am carry the song: vi–V–I–ii relative to G, i–VII–III–iv relative to Em. B is the interesting twist: in G it is a chromatic chord (V/vi), while in Em it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Am → Em (ii → vi in G, iv → i in Em): minor plagal — deep and melancholic. It closes on C, letting the G side have the last word.
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.
Haluk Levent - Sen Gidince 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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