Major view
F major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = E (leading tone, pulls home)
- 4 = Bb (the note that leans on the 3rd)
İlhan Şeşen - Sene 1968 - Chord
Key F major – D minor Chords Dm, F, C, Gm, A7 Easy key C (capo 5)
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Key: F | Dm
Capo: 0
F C Gm Dm A7 Dm F C Dm Sene bin dokuz yüz altmış sekiz F C Dm Kalamış'ta yine sakin bir gün F C Gm Güneş aynı yerden batmak üzere Dm A7 Dm Kimi oturuyor, kimi kalkmak üzere F C Dm Kendimizle küstük barıştık F C Dm Bazı şeylere çok zor alıştık F C Dm Ergenliklerimiz vardı geçti F C Dm Çoğumuz çoluk çocuğa karıştık F C Gm Güneş aynı yerden batmak üzere Dm A7 Dm Kimi oturuyor, kimi kalkmak üzere F C Gm Sen ben ve diğerleri Dm A7 Dm Sen ben ve diğerleri F C Dm Caddeye adımız konsun istemiyoruz F C Dm Zaten her sokakta biz varız F C Dm Biz hep yeni şeyler öğrendik F C Dm Ne kadar haklıymış babalarımız F C Dm Karşı ki mor dağlar dumandı F C Dm Sevdalarımız hayli yamandı F C Dm Anılar kayıplar hanesinde F C Dm Yine de her şey kar hanesinde F C Gm Güneş aynı yerden batmak üzere Dm A7 Dm Kimi oturuyor, kimi kalkmak üzere
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İlhan Şeşen - Sene 1968 Tabs
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Harmony analysis
İlhan Şeşen – Sene 1968: key and chord analysis
The song opens on F and ends on Dm. Its chords belong to both F major and Dm, so every chord below is read both ways.
Minor view
D minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Bb (the minor's melancholy)
- b7 = C (natural-minor colour)
- #7 = C# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the D minor side because it comes to rest on Dm, it opens on F, Dm is heard 24 times against 19 for F and the major V chord points straight at Dm. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 | F | Tonic — home | F · A · C | 19× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 5× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V7/vi | A7 | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E · G | 5× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | — |
| V | C | Dominant — strongest pull home | C · E · G | 19× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 24× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 24× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 19× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 5× |
| v | Am | Minor dominant — soft pull | A · C · E | — |
| V7 | A7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E · G | 5× |
| VI | Bb | Submediant — warm colour | Bb · D · F | — |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 19× |
Analysis
The key pair is F major and its relative D minor (1 flat). 5 different chords appear 72 times in total; 4 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A7 is V7/vi, a secondary dominant heading for Dm.
Chord movement
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×14
- A7 Dm FV7/vi → visecondary resolution DmV7 → iharmonic-minor cadence ×5
- Gm Dm Fii → vi Dmiv → iminor plagal ×5
The move to watch is C → Dm, heard 14 times. From the Dm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the F side it reads V → vi (deceptive cadence: expected F, lands on Dm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
- Over Dm, land on D, F, A — 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.
- Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
- When A7 comes, swap the scale's C for C#: 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 F major shapes
- Capo 1 + E shapes
- Capo 3 + D shapes
- Capo 5 + C shapes
With D minor shapes
- No capo — open Dm shapes
- Capo 5 + Am shapes
Easiest keys on guitar
- 5 semitones down · capo 5 keeps the original pitch
- 2 semitones up
The song's harmonic story
Starting on F, the song gives away its key from the very first bar. The chords that keep coming back are Dm, F, C, Gm; read them as vi–I–V–ii in F or i–III–VII–iv in Dm. A7 is the interesting twist: in F it is a chromatic chord (V7/vi), while in Dm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on C → Dm (V → vi in F, VII → i in Dm): Aeolian arrival — rises a whole tone into home. Ending on Dm, the song seals Dm 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.
İlhan Şeşen - Sene 1968 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: İlhan ŞeşenMusic: İlhan Şeşen
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