Öykü Gürman - Yine Sevenler Sevsin - Chord

Key C major – A minor Chords Am7, Dm7, G, F, Em7, Cmaj7, Am Difficulty already in its easiest key

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Capo 0

Am7  Dm7  G  F  Am7

     Dm7                Em7
Kendime bir an için gelemedim
     F                    Em7
Gülmeyi hep erteledim gülemedim
       F          Em7      Dm7
Çok acıdım çok üzüldüm diyemedim
   F           Em7       Am7
Uçurumda ben düşende ben senin aşk

Am7                     Dm7
Gönlümden gelip geçenler var
G                     Am7
Kalbimi delip geçenler var
                       Dm7
Ömrümden çekip gidenler var
G                    Am7
Kendini yasak edenler var

  Am7      G               F
Olsun bu kadar mı zor bu kadar mı zor
      Em7            Dm7
Seviyorum seni demek bana
   G       F          Em7
Vurgun yedi sevdam geçmez zaman
        Dm7         Cmaj7
Güneş küser mi toprağa

                     Dm7
Yine sevenler sevsin ah
G                           Am
Yine bende kalsın kalsın sevda

Am7                     Dm7
Gönlümden gelip geçenler var
G                     Am7
Kalbimi delip geçenler var
                       Dm7
Ömrümden çekip gidenler var
G                    Am7
Kendini yasak edenler var

End of song Play again?

Öykü Gürman - Yine Sevenler Sevsin Tabs

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Harmony analysis

Öykü Gürman – Yine Sevenler Sevsin: key and chord analysis

The song opens on Am7 and ends on Am7. 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 A minor side because it both starts and finishes on Am and Am is heard 11 times against 1 for C. 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.

Seen from C major
Degree	Chord	Role	Notes	In song
Imaj7	Cmaj7	Tonic — home	C · E · G · B	1×
ii7	Dm7	Supertonic — prepares the dominant	D · F · A · C	10×
iii7	Em7	Mediant — a tonic-family shade	E · G · B · D	6×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	6×
V	G	Dominant — strongest pull home	G · B · D	8×
vi7	Am7	Relative minor — the melancholy side	A · C · E · G	10×
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
i7	Am7	Tonic — home	A · C · E · G	10×
i	Am	Tonic — home	A · C · E	1×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
IIImaj7	Cmaj7	Relative major — the bright side	C · E · G · B	1×
iv7	Dm7	Subdominant — moves away from home	D · F · A · C	10×
v7	Em7	Minor dominant — soft pull	E · G · B · D	6×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	6×
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). 7 different chords appear 42 times in total; 7 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

Dm7 G Cii7 → Vii → V Amiv7 → VII ×7
G Am7 CV → vi7deceptive cadence AmVII → i7Aeolian arrival ×4
G Am CV → videceptive cadence AmVII → iAeolian arrival ×1
F Am7 CIV → vi7 AmVI → i7VI → i ×1
Em7 Am7 Ciii7 → vi7 Amv7 → i7natural-minor cadence ×1

The move to watch is Dm7 → G, heard 7 times. From the Am side it is iv7 → VII; from the C side it reads ii7 → V (ii → V: the classic preparation of the dominant). 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 Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Dm7, land on D, F, A — 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.

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

Starting on Am7, the song gives away its key from the very first bar. The chords that keep coming back are Am7, Dm7, G, F; read them as vi7–ii7–V–IV in C or i7–iv7–VII–VI in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm7 → G (ii7 → V in C, iv7 → VII in Am): ii → V — the classic preparation of the dominant. It closes on Am7, letting the Am 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.