Sena Şener - Kapkaranlık Her Günüm - Chord

Key F major – D minor Chords Dm, Am, E7, A7, Gm Easy key C (capo 5)

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Capo 0

Am  E7

Am                                      Dm
Yaşlandım, dünyayı serdiler avuçlarıma, istemedim
                             Am
Yıldızlar döküldü saçlarıma, silkeledim
                                         Dm
Yalnızdım, tek bir kurşunla bir savaş alanında
E7                       Am    E7
Ben de kendimi öldürdüm onunla

       Dm        A7
Bak ne kaldı ellerimde
       Dm          A7
Hiçbir şey yok yüreğimde
        Gm            A7
Her şey bomboş, yok gözümde
     Gm           Dm  E7
Kapkaranlık her günüm

Am                                   Dm
Ne yazık, gözlerim parlardı zifiri karanlıkta
                             Am
Şimdi beni göremezsin gün ışığında
                                    Dm
Arsızdım hiç yarın yokmuş gibi bir inançla
E7                       Am    E7
Ben de kendimi öldürdüm onunla

       Dm        A7
Bak ne kaldı ellerimde
       Dm          A7
Hiçbir şey yok yüreğimde
        Gm            A7
Her şey bomboş, yok gözümde
     Gm           Dm  E7
Kapkaranlık her günüm

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Sena Şener - Kapkaranlık Her Günüm Tabs

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Harmony analysis

Sena Şener – Kapkaranlık Her Günüm: key and chord analysis

The song opens on Am and ends on E7. Its chords belong to both F major and Dm, so every chord below is read both ways.

Major view

F major

Brightness rank 2/7 (bright)

Characteristic notes

7 = E (leading tone, pulls home)
4 = Bb (the note that leans on the 3rd)

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (natural-minor colour)
#7 = C# (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 D minor side because Dm is heard 10 times while F never appears and the major V chord points straight at Dm. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	4×
iii	Am	Mediant — a tonic-family shade	A · C · E	7×
V7/vi	A7	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E · G	6×
IV	Bb	Subdominant — moves away from home	Bb · D · F	—
V	C	Dominant — strongest pull home	C · E · G	—
vi	Dm	Relative minor — the melancholy side	D · F · A	10×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—
V7/iii	E7	Secondary dominant V/iii — leads to Amsecondary dominant	E · G# · B · D	7×

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	10×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
V7/v	E7	Secondary dominant V/v — leads to Amsecondary dominant	E · G# · B · D	7×
III	F	Relative major — the bright side	F · A · C	—
iv	Gm	Subdominant — moves away from home	G · Bb · D	4×
v	Am	Minor dominant — soft pull	A · C · E	7×
V7	A7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E · G	6×
VI	Bb	Submediant — warm colour	Bb · D · F	—
VII	C	Subtonic — steps back to the tonic	C · E · G	—

Analysis

The key pair is F major and its relative D minor (1 flat). 5 different chords appear 34 times in total; 3 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A7 is V7/vi, a secondary dominant heading for Dm. E7 acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

E7 Am FV7/iii → iiisecondary resolution DmV7/v → v ×4
Am Dm Fiii → vi Dmv → inatural-minor cadence ×4
A7 Dm FV7/vi → visecondary resolution DmV7 → iharmonic-minor cadence ×2
Gm Dm Fii → vi Dmiv → iminor plagal ×2
Gm A7 Fii → V7/vi Dmiv → V7iv → V ×2

The move to watch is E7 → Am, heard 4 times. From the Dm side it is V7/v → v; from the F side it reads V7/iii → iii (secondary resolution: E7 resolves a fourth up to Am). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over E7, land on E, G#, B — the chord's own tones always sound right on strong beats.
When A7 comes, swap the scale's C for C#: 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 F major shapes

Capo 1 + E shapes
Capo 3 + D shapes
Capo 5 + C shapes

With D minor shapes

No capo — open Dm shapes
Capo 5 + Am shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

Starting on Am, the song gives away its key from the very first bar. The backbone is Dm, Am, E7, A7 — vi–iii–V7/iii–V7/vi from the F side, i–v–V7/v–V7 from the Dm side. E7 is the interesting twist: in F it is a chromatic chord (V7/iii), while in Dm it becomes the dominant (V7/v) that makes the minor side sound so determined. Keep an ear on E7 → Am (V7/iii → iii in F, V7/v → v in Dm): secondary resolution — E7 resolves a fourth up to Am. The final chord is E7; the ear comes to rest in F.

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.