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)
Sepya - Kadıköy Rıhtımı - Chord
Key C major – A minor Chords F, G, Em7, Am7, A Easy key G (capo 5)
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Key: C | Am
Capo: 0
F G Em7 Am7
F G
Yanlış kişinin evinde gözlerini açtın
Em7 Am7
Döner başın, geç kaldın vapura
F G
Evden çıkarken nefesinle bıraktın
Em7 Am7
Pencerende bir kalp var soğukta
F G
Ama dursan, bir konuşsan, yolu varsa
Em7
Nasıl unutsan yine
Am7
Hayali seninle
F
Peki, sen onun için teksen
G Em7
Bilebilsen nasıl düğümlenir
Am7
Sözcükler dilinde
F G A
Her gece yok olsan benimle
F G A
Her gece su olsan tenimde
F G A
Ama sen onunla bir köşede
F G A
Yine ben dünlerin izinde
F G Em7 Am7
F
Onu sır gibi saklardın
G
Boş yere uğraştın
Em7
Yok, anlamaz
Am7
Mavini sen bana bırak
F
Kadıköy Rıhtımı bugün
G
Islak ve sepya
Em7
Mutluluk zor
Am7
Rengini unuttukça
F G
Ama dursan, bir konuşsan, yolu varsa
Em7
Nasıl unutsan yine
Am7
Hayali seninle
F
Peki, sen onun için teksen
G Em7
Bilebilsen nasıl düğümlenir
Am7
Sözcükler dilinde
F G A
Her gece yok olsan benimle
F G A
Her gece su olsan tenimde
F G A
Ama sen onunla bir köşede
F G A
Yine ben dünlerin izinde
End of song Play again?
Sepya - Kadıköy Rıhtımı Tabs
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Harmony analysis
Sepya – Kadıköy Rıhtımı: key and chord analysis
The song opens on F and ends on A. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the A minor side because Am is heard 10 times while C never appears. 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 | — |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | — |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 10× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 18× |
| V | G | Dominant — strongest pull home | G · B · D | 18× |
| vi7 | Am7 | Relative minor — the melancholy side | A · C · E · G | 10× |
| VI | A | Chromatic colour chordoutside the key | A · C# · E | 8× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Am7 | Tonic — home | A · C · E · G | 10× |
| I | A | Chromatic colour chordoutside the key | A · C# · E | 8× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv | Dm | Subdominant — moves away from home | D · F · A | — |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 10× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 18× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 18× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 64 times in total; 4 of them sit naturally inside the shared scale. A step outside the scale as colour chords.
Chord movement
- F G CIV → VIV → V AmVI → VIIVI → VII ×18
- Em7 Am7 Ciii7 → vi7 Amv7 → i7natural-minor cadence ×10
The move to watch is F → G, heard 18 times. From the Am side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the C side it reads IV → V (IV → V: the lift that builds tension before 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.
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 F, the song gives away its key from the very first bar. F, G, Em7, Am7 carry the song: IV–V–iii7–vi7 relative to C, VI–VII–v7–i7 relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → G (IV → V in C, VI → VII in Am): VI → VII — the rising step that heads for the tonic. The final chord is A; the ear comes to rest in C.
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.
Sepya - Kadıköy Rıhtımı 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: Hüner AlemdarMusic: Hüner AlemdarArrangement: Arel Koray Nalbant
Huner Alemdar
Mert Kobaş
Filip Tokgöz
Burak Erensoy
İsmail Yiğit Özbaş
Huner Alemdar
Mert Kobaş
Filip Tokgöz
Burak Erensoy
İsmail Yiğit Özbaş
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