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)
Çağan Şengül - Günaydın Sevgilim - Chord
Key C major – A minor Chords F, G, Am Easy key G (capo 5)
No ratings yet
or your user informations
Make it yours
Text size
Key: C | Am
Capo: 0
Am
Günaydın sevgilim
Uykundan uyandın
F
O güzel saçların şimdi
G Am
Dağılmış yastığına, uzanıp dokunsam
Am
Günaydın sevgilim
F
Mahmurdur surat ifaden
Biraz durgun biraz huysuz
G
Yanına sokulsam
Bir isteğim yok
F G
Senden başka bu hayattan aaa
Am
Adımlarım adınladır
İnsan yükü ağır kadın
F
Yorulur da pes edersen
G F
Benim senin kanatların
Am Am F F
F
Gökyüzünde hür iradem ellerinde
G
Yüksel güzel kızım bulutlara
Beni bekleme
F
Dünya çok kötü
izin vermem düşmene
G F G
Yeryüzünde inanmazlar meleklereeee
Sevgilim, yağmur başladı
Sen gök gürültüsünden korkarsın
Elimi tut demek isterdim sana
Ya da sarıl bana
Güzelim benim, güzel kızım benim
Bi gün günayacak ve ben yanında
Sana bu şarkıyı söyleyeceğim
Söz veriyorum
Söz veriyorum sevgilim
End of song Play again?
Çağan Şengül - Günaydın Sevgilim Tabs
NotesX
Harmony analysis
Çağan Şengül – Günaydın Sevgilim: key and chord analysis
The song opens on Am and ends on G. Its chords belong to both C major and Am, so every chord below is read both ways.
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 opens on Am and Am is heard 6 times while C never appears. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | — |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | — |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 10× |
| V | G | Dominant — strongest pull home | G · B · D | 7× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 6× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 6× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv | Dm | Subdominant — moves away from home | D · F · A | — |
| v | Em | Minor dominant — soft pull | E · G · B | — |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 10× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 7× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 3 different chords appear 23 times in total; 3 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
- F G CIV → VIV → V AmVI → VIIVI → VII ×7
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×2
- F Am CIV → vi AmVI → iVI → i ×1
The move to watch is F → G, heard 7 times. From the Am side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the C side it reads IV → V (IV → V: the lift that builds tension before home). 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 F, land on F, A, C — 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
- 2 semitones up
The song's harmonic story
The opening Am lays a solid floor for everything that follows. The chords that keep coming back are F, G, Am; read them as IV–V–vi in C or VI–VII–i in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → G (IV → V in C, VI → VII in Am): VI → VII — the rising step that heads for the tonic. The final chord is G; 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.
Çağan Şengül - Günaydın Sevgilim 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.
Repertoires with this song
Similar songs, ready to play: pick a list.
Lyrics: Çağan ŞengülMusic: Çağan ŞengülArrangement: Çağan Şengül
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.