Pinhani - Hikayeler Tükendi - Chord

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

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Capo 0

     F
Sana söyleyemediğim her şeyi
     G         C
Sokaklara söyledim
     G         C
Dinlemediler beni
     F
Sana anlatamadığım her şeyi
    G         C
Aynalara anlattım
       G          C
Mutsuz insanlar gibi

      Dm
Hikayeler tükendi, müzik sesi yükseldi
         Em
Konuşmak eskidendi, yalnızlara özendi gönlümüz
         Dm
Yemekler ayrı yendi, uzun bir film izlendi
        F                G
Sonunda uyku geldi, geçen gün ömürdendi

F  G  C  G  C

     F
Sana dinletemediğim o şarkıyı 
     G         C
Martılara söyledim
      G          C
Belki severler diye
     F
Seni anlayamadığım her günü 
     G        C
Sayfalara ekledim
      G          C
Belki anlarlar diye

      Dm
Hikayeler tükendi, müzik sesi yükseldi
         Em
Konuşmak eskidendi, yalnızlara özendi gönlümüz
         Dm
Yemekler ayrı yendi, uzun bir film izlendi
        F                G
Sonunda uyku geldi, geçen gün ömürdendi

F          G
Paylaşmayı sevmiyorduk
F       Em         Dm
Bu kimsenin suçu değil
                C
Maalesef bizim özelliğimiz
Am        G
Anlaşmayı bilmiyorduk
F       Em         Dm
Bu kimsenin suçu değil
                 C
İstemesek de öğreneceğiz

      Dm
Hikayeler tükendi, müzik sesi yükseldi
         Em
Konuşmak eskidendi, yalnızlara özendi gönlümüz
         Dm
Yemekler ayrı yendi, uzun bir film izlendi
        F                G
Sonunda uyku geldi, geçen gün ömürdendi

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Pinhani - Hikayeler Tükendi Tabs

NotesX

Harmony analysis

Pinhani – Hikayeler Tükendi: key and chord analysis

The song opens on F and ends on G. 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C major side because C is heard 12 times against 1 for Am. That is an interpretation, not a rule — hearing the same chords from A minor is just as valid and teaches you something different.

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	12×
ii	Dm	Supertonic — prepares the dominant	D · F · A	8×
iii	Em	Mediant — a tonic-family shade	E · G · B	5×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	11×
V	G	Dominant — strongest pull home	G · B · D	15×
vi	Am	Relative minor — the melancholy side	A · C · E	1×
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	1×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	12×
iv	Dm	Subdominant — moves away from home	D · F · A	8×
v	Em	Minor dominant — soft pull	E · G · B	5×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	11×
VII	G	Subtonic — steps back to the tonic	G · B · D	15×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 52 times in total; 6 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.

Chord movement

G C CV → Iauthentic cadence AmVII → III ×10
F G CIV → VIV → V AmVI → VIIVI → VII ×9

The move to watch is G → C, heard 10 times. From the C side it reads V → I (authentic cadence: the strongest arrival home); from the Am side it is VII → III. 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 G, land on G, B, D — 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 F, land on F, A, C — 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
2 semitones up

The song's harmonic story

The first chord is F; the ear learns where home is within a second. G, C, F, Dm carry the song: V–I–IV–ii relative to C, VII–III–VI–iv relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → C (V → I in C, VII → III in Am): authentic cadence — the strongest arrival home. It closes on G, letting the C 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.