Sena Şener - Gerçek Değil - Chord

Key C major – A minor Chords Am, G, F, C, E, G#7, Dm, B7 Easy key G (capo 5)

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Capo 0

Am           G
Saklarım kendimi
        F         Am   G
Yalanlardan yalnızlığa
Am          G
Beklerim her şeyi
        F       Am     G
Beklenen hep gelir gibi

Am
Beni içten sevdiğin
F
Bensiz güçsüz kaldığın
Am       G
Gerçeği aradığın
F        C
Gerçek değil
Am
Birden bana düştüğün
F
Varlığımı saydığın
Am        G
Kendini bağladığın
F        C
Gerçek değil

Am
Dinleyemem, inanamam
G#7
Yorgunum, ah, çok yorgunum
Am          G      F     E
Gördüğüm gerçek gerçek değil
Dm
Dinleyemem, inanamam
Am
Yorgunum, ah, çok yorgunum
B7                 Am     E
Gördüğüm gerçek gerçek değil

Am           G
Saklarım kendimi
        F        Am   G
Bulutlardan yağmurlara
Am         G
Atlarım boşluğa
       F       Am     G
Boşluk beni tutar gibi

End of song Play again?

Sena Şener - Gerçek Değil Tabs

NotesX

Harmony analysis

Sena Şener – Gerçek Değil: 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.

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)
#7 = G# (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 A minor side because it opens on Am, Am is heard 16 times against 2 for C and the major V chord points straight at Am. 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	2×
ii	Dm	Supertonic — prepares the dominant	D · F · A	1×
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	2×
IV	F	Subdominant — moves away from home	F · A · C	9×
V	G	Dominant — strongest pull home	G · B · D	11×
bVI7	G#7	Borrowed from the parallel minorborrowed chord	G# · B# · D# · F#	1×
vi	Am	Relative minor — the melancholy side	A · C · E	16×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—
V7/iii	B7	Secondary dominant V/iii — leads to Emsecondary dominant	B · D# · F# · A	1×

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	16×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
V7/v	B7	Secondary dominant V/v — leads to Emsecondary dominant	B · D# · F# · A	1×
III	C	Relative major — the bright side	C · E · G	2×
iv	Dm	Subdominant — moves away from home	D · F · A	1×
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	2×
VI	F	Submediant — warm colour	F · A · C	9×
VII	G	Subtonic — steps back to the tonic	G · B · D	11×
#VII7	G#7	Chromatic colour chordoutside the key	G# · B# · D# · F#	1×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 8 different chords appear 43 times in total; 5 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. B7 acts as a secondary dominant, briefly pointing at another chord of the key. G#7 is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

F Am CIV → vi AmVI → iVI → i ×6
G Am CV → videceptive cadence AmVII → iAeolian arrival ×3
F C CIV → Iplagal cadence AmVI → III ×2
E Am CV/vi → vi AmV → iharmonic-minor cadence ×1
Dm Am Cii → vi Amiv → iminor plagal ×1

The move to watch is F → Am, heard 6 times. From the Am side it is VI → i (VI → i: falls a half step into home); from the C side it reads IV → vi. 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 Am, land on A, C, E — 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 F, land on F, A, C — 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.
On G#7, follow the chord's notes (G# · B# · D# · F#) rather than the key's scale — it's a borrowed colour.

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 opening Am lays a solid floor for everything that follows. The backbone is Am, G, F, C — vi–V–IV–I from the C side, i–VII–VI–III 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 F → Am (IV → vi in C, VI → i in Am): VI → i — falls a half step into home. It closes on G, letting the C side have the last word.

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.