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)
Bahadır Tatlıöz - Sancı (Enbe ve Pınar Süer) - Chord
Key C major – A minor Chords F, G, Em7, Dm, Em, Am, Dm7, Fmaj7 … Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Em7
Aklıma sorular geliyor
Dm7
Zehirliyor duyguları
Fmaj7
Bıraksan göz yaşı sel olur
Em7
Ama gururda var
Cmaj7
Tersine akıyor yıllar
Dm7 Fmaj7
İlk günden bile yabancısın
Ya bir derdin var bilmediğim
Em7 G
Ya büyük yalancısın
C G
Sen hala içimdeki dinmeyen büyük sancısın
Dm Em Am
Ama biliyorum ben yolcuyum sen hancısın
Am
Al toplandım bak gidiyorum
F
Gönlünce olsun dilediğin her şey
Em
Saplandım biliyorum
G
Nedir seni hala burada tutan şey
Dm F
Sen buna ister zayıflık, ister aşk de
Em F G
Ben kendimden vazgeçtim, sen benden vazgeçsen ne
Am F Dm F E
Am F Dm F Em7
Em7
Tersine akıyor yıllar
Dm7 Fmaj7
İlk günden bile yabancısın
Ya bir derdin var bilmediğim
Em7 G
Ya büyük yalancısın
C G
Sen hala içimdeki dinmeyen büyük sancısın
Dm Em Am
Ama biliyorum ben yolcuyum sen hancısın
Am
Al toplandım bak gidiyorum
F
Gönlünce olsun dilediğin her şey
Em
Saplandım biliyorum
G
Nedir seni hala burada tutan şey
Dm F
Sen buna ister zayıflık, ister aşk de
Em F G
Ben kendimden vazgeçtim, sen benden vazgeçsen ne
End of song Play again?
Bahadır Tatlıöz - Sancı (Enbe ve Pınar Süer) Tabs
NotesX
Harmony analysis
Bahadır Tatlıöz – Sancı (Enbe ve Pınar Süer): key and chord analysis
The song opens on Em7 and ends on G. Its chords belong to both C major and Am, so every chord below is read both ways.
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 Am is heard 6 times against 3 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | 2× |
| Imaj7 | Cmaj7 | Tonic — home | C · E · G · B | 1× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 6× |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 3× |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 6× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 6× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | 1× |
| IV | F | Subdominant — moves away from home | F · A · C | 10× |
| IVmaj7 | Fmaj7 | Subdominant — moves away from home | F · A · C · E | 3× |
| V | G | Dominant — strongest pull home | G · B · D | 8× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 6× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 6× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 2× |
| IIImaj7 | Cmaj7 | Relative major — the bright side | C · E · G · B | 1× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 6× |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 3× |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 6× |
| v | Em | Minor dominant — soft pull | E · G · B | 6× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | 1× |
| VI | F | Submediant — warm colour | F · A · C | 10× |
| VImaj7 | Fmaj7 | Submediant — warm colour | F · A · C · E | 3× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 8× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 11 different chords appear 52 times in total; 10 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
- G C CV → Iauthentic cadence AmVII → III ×2
- Em Am Ciii → vi Amv → inatural-minor cadence ×2
- F G CIV → VIV → V AmVI → VIIVI → VII ×2
- E Am CV/vi → vi AmV → iharmonic-minor cadence ×1
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×1
The move to watch is G → C, heard 2 times. From the Am side it is VII → III; from the C side it reads V → I (authentic cadence: the strongest arrival home). 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 F, land on F, A, C — 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.
- Over Em7, land on E, G, B — 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
The song is already written in its easiest key for guitar.
The song's harmonic story
The first chord is Em7; the ear learns where home is within a second. The chords that keep coming back are F, G, Em7, Dm; read them as IV–V–iii7–ii in C or VI–VII–v7–iv in Am. 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 G → C (V → I in C, VII → III in Am): authentic cadence — the strongest arrival home. Ending on G, 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.
Bahadır Tatlıöz - Sancı (Enbe ve Pınar Süer) 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: Bahadır TatlıözMusic: Bahadır TatlıözArrangement: Bahadır Tatlıöz
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