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)
Serenay Günay - Tükendi Kelimeler - Chord
Key C major – A minor Chords G, C, F, A7, Gm Easy key G (capo 5)
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Key: C | Am
Capo: 0
C G F A7 Gm F A7 G C G F A7 İnsan insanı bu kadar üzemez C G F A7 İnancım kırıldı bir kere C G F A7 Her şeyi bıraktım hala bekliyorum C G C Böyle bir insan olmayı ben de istemedim C G F A7 Gm F A7 G C G F A7 Bir yıldız gibi kayıp gidiyorum C G F A7 Kimsenin olmadığı bir yerlere C G F A7 Hayat sadece bir günden ibaret C G C Boşa koysam da almadı bak yine C G F A7 Gm F A7 G C G F A7 Az söndü daha çok alev var içimde C G C Ama çoktan tükendi kelimeler C G F A7 Gm F A7 G
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Serenay Günay - Tükendi Kelimeler Tabs
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Harmony analysis
Serenay Günay – Tükendi Kelimeler: key and chord analysis
The song opens on C 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 C major side because it opens on C and C is heard 17 times while Am never appears. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | 17× |
| 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 | 15× |
| V | G | Dominant — strongest pull home | G · B · D | 18× |
| v | Gm | Chromatic colour chordoutside the key | G · Bb · D | 4× |
| vi | Am | Relative minor — the melancholy side | A · C · E | — |
| VI7 | A7 | Chromatic colour chordoutside the key | A · C# · E · G | 15× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | — |
| I7 | A7 | Chromatic colour chordoutside the key | A · C# · E · G | 15× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 17× |
| 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 | 15× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 18× |
| vii | Gm | Chromatic colour chordoutside the key | G · Bb · D | 4× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 69 times in total; 3 of them sit naturally inside the shared scale. A7, Gm step outside the scale as colour chords.
Chord movement
- G C CV → Iauthentic cadence AmVII → III ×6
The move to watch is G → C, heard 6 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
Starting on C, the song gives away its key from the very first bar. The backbone is G, C, F, A7 — V–I–IV–VI7 from the C side, VII–III–VI–I7 from the Am side. 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. Ending on G, the song seals C as home.
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.
Serenay Günay - Tükendi Kelimeler 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.
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Lyrics: Serenay GünayMusic: Serenay GünayArrangement: Ferdi Karameşe
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