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)
Mustafa Ceceli - Ki Sen - Chord
Key G major – E minor Chords Bm, C, Em, Am, D, A Easy key C (capo 7)
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Key: G | Em
Capo: 0
C Bm C Bm
Am
Ben senden bıktım usandım
C Bm
Utanmazım, arlanmazım
Em A
Yerin de yurdun da benim
C Bm C Bm
Gurbet çekemezsin ki sen
Em Am
Bağlarım acı dilini
C Bm
Keserim çıkmaz yolunu
Em Am
Severim çocukluğunu
C Bm C Bm
Yol iz bulamazsın ki sen
Em Bm D C
İçmem mi elinden aşkın zehirinden
Em Bm C
Sen gel de tanı kendini benden
Em Bm D C
Çekmem mi acını, bilmem mi içini
Em Bm Em
Ben de kiracıyım zaten, durmam
C Bm C Bm
Am
Kaderim, kaçınılmazım
C Bm
Gel yenilir yutulmazım
Em Am C
Uçurum kenarındasın düşme
Bm C Bm
Ne olursun bilmem
Em Bm D C
İçmem mi elinden aşkın zehirinden
Em Bm C
Sen gel de tanı kendini benden
Em Bm D C
Çekmem mi acını, bilmem mi içini
Em Bm Em
Ben de kiracıyım zaten, durmam
End of song Play again?
Mustafa Ceceli - Ki Sen Tabs
NotesX
Harmony analysis
Mustafa Ceceli – Ki Sen: key and chord analysis
The song opens on C and ends on Em. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the E minor side because it comes to rest on Em and Em is heard 14 times while G never appears. 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 | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 5× |
| V/V | A | Secondary dominant V/V — leads to Dsecondary dominant | A · C# · E | 1× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 21× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 19× |
| V | D | Dominant — strongest pull home | D · F# · A | 4× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 14× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 14× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| iv | Am | Subdominant — moves away from home | A · C · E | 5× |
| IV | A | Major IV — Dorian / melodic-minor colourmodal colour | A · C# · E | 1× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 21× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 19× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 4× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 64 times in total; 5 of them sit naturally inside the shared scale. A acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Bm Em Giii → vi Emv → inatural-minor cadence ×8
- C Em GIV → vi EmVI → iVI → i ×6
The move to watch is Bm → Em, heard 8 times. From the Em side it is v → i (natural-minor cadence: gentle, modal arrival); from the G side it reads iii → 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 Bm, land on B, D, F# — 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.
- Over Em, 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 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
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
Starting on C, the song gives away its key from the very first bar. The chords that keep coming back are Bm, C, Em, Am; read them as iii–IV–vi–ii in G or v–VI–i–iv in Em. A adds a moment of surprise: secondary dominant V/V — leads to D. Keep an ear on Bm → Em (iii → vi in G, v → i in Em): natural-minor cadence — gentle, modal arrival. It closes on Em, letting the Em 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.
Mustafa Ceceli - Ki Sen 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: Sezen AksuMusic: İlker BayraktarArrangement: Mustafa Ceceli
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