Sezen Aksu - Kendimce - Chord

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

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Capo 0

G                 Am           F
Ne sende suç var inan ne de bende
              Dm                G
Ne kadar çok utanç birikmiş içerde
            Am                F
Ne zor yüklenen rolleri reddetmek
             Dm                      G
Muhtemelen delirmişiz daha ana rahminde

C            G
Kimse kimseyi çözemez
Am            Em
O kadar derine inemez
   F
Ya karşılaşırsa kendiyle
Dm                C
O kazıyı göze alamaz

C  G  Am  Em  F  F  Dm   C

G                Am        F
Ben seni sevdim inan kendimce
               Dm                       G
Tartamam ne kadarı gerçek, ne kadarı sahte
         Am     F
Ama bildiğim canım yanıyor
                  Dm                           G
Sığınacak tek yer kendinsin, yani yine iner perde

C            G
Kimse kimseyi çözemez
Am            Em
O kadar derine inemez
   F
Ya karşılaşırsa kendiyle
Dm           C
O kazıyı göze alamaz

Am       Dm     Am
Nasıl tuzağa düşmüşüz
Dm             Em
Oyuna gelmişiz meğer
Dm             G  Em
Zamanı ziyan etmişiz
Am      Dm         Em
Bu kaybın adı mı kader

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Sezen Aksu - Kendimce Tabs

NotesX

Harmony analysis

Sezen Aksu – Kendimce: key and chord analysis

The song opens on G and ends on Em. 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 Am is heard 10 times against 6 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
I	C	Tonic — home	C · E · G	6×
ii	Dm	Supertonic — prepares the dominant	D · F · A	11×
iii	Em	Mediant — a tonic-family shade	E · G · B	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	8×
V	G	Dominant — strongest pull home	G · B · D	10×
vi	Am	Relative minor — the melancholy side	A · C · E	10×
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	10×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	6×
iv	Dm	Subdominant — moves away from home	D · F · A	11×
v	Em	Minor dominant — soft pull	E · G · B	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	8×
VII	G	Subtonic — steps back to the tonic	G · B · D	10×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 51 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 Am CV → videceptive cadence AmVII → iAeolian arrival ×7
Dm G Cii → Vii → V Amiv → VII ×5
G C CV → Iauthentic cadence AmVII → III ×2
Dm Am Cii → vi Amiv → iminor plagal ×1
Em Am Ciii → vi Amv → inatural-minor cadence ×1

The move to watch is G → Am, heard 7 times. From the Am side it is VII → i (Aeolian arrival: rises a whole tone into home); from the C side it reads V → vi (deceptive cadence: expected C, lands on Am). 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 Dm, 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.
Over Am, land on A, C, E — 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

The first chord is G; the ear learns where home is within a second. Dm, G, Am, F carry the song: ii–V–vi–IV relative to C, iv–VII–i–VI relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → Am (V → vi in C, VII → i in Am): Aeolian arrival — rises a whole tone into home. The final chord is Em; 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.