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)
Gülben Ergen - Sende Aklım - Chord
Key C major – A minor Chords Dm, Em, G, Am, C, Fmaj7, E Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Em Dm Em
Em Dm
Sensiz bakmasın gözlerim
G Em
Senden başka sevmesin kalbim
Fmaj7
Silinsin kadrin kıymetin
G Dm Em
Razıyım gülmesin kaderim
Am Dm
Tam kaç yıl önce hatırla, elin elim olmuştu
G C
Ruhum benden çıkıp, başka beden bulmuştu
Am Dm
Güzeldi o zaman rüzgar, şehirlere savurmuştu
G E
İki göz oda ev, bize saray olmuştu
Am Dm
Gel acısı saklım
G C
Hep sende aklım
End of song Play again?
Gülben Ergen - Sende Aklım Tabs
NotesX
Harmony analysis
Gülben Ergen – Sende Aklım: key and chord analysis
The song opens on Em and ends on C. 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)
- #7 = G# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between C major and A minor because it comes to rest on C, Am is heard 3 times against 2 for C and the major V chord points straight at Am. Try reading the chords both ways and see which feels more like home to you.
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 | 2× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 6× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 5× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | 1× |
| IVmaj7 | Fmaj7 | Subdominant — moves away from home | F · A · C · E | 1× |
| V | G | Dominant — strongest pull home | G · B · D | 5× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 3× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 3× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 2× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 6× |
| v | Em | Minor dominant — soft pull | E · G · B | 5× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | 1× |
| VImaj7 | Fmaj7 | Submediant — warm colour | F · A · C · E | 1× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 5× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 23 times in total; 6 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E is V/vi, a secondary dominant heading for Am.
Chord movement
- Dm G Cii → Vii → V Amiv → VII ×4
- G C CV → Iauthentic cadence AmVII → III ×2
- E Am CV/vi → vi AmV → iharmonic-minor cadence ×1
- Fmaj7 G CIVmaj7 → VIV → V AmVImaj7 → VIIVI → VII ×1
- Em Am Ciii → vi Amv → inatural-minor cadence ×1
The move to watch is Dm → G, heard 4 times. From the C side it reads ii → V (ii → V: the classic preparation of the dominant); from the Am side it is iv → VII. 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 Em, land on E, G, B — 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.
- When E comes, swap the scale's G for G#: 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 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
The opening Em lays a solid floor for everything that follows. The backbone is Dm, Em, G, Am — ii–iii–V–vi from the C side, iv–v–VII–i from the Am side. E is the interesting twist: in C it is a chromatic chord (V/vi), while in Am it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Dm → G (ii → V in C, iv → VII in Am): ii → V — the classic preparation of the dominant. Ending on C, 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.
Gülben Ergen - Sende Aklım 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: Cansu KurtçuMusic: Cansu KurtçuArrangement: Taşkın Sabah
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