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)
Elif Buse Doğan - Senin Kadar Hiç Kimseyi Sevmedim - Chord
Key C major – A minor Chords Em7, Dm7, Fmaj7, G, Cmaj7, Am7, F Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Em7 Em7 Fmaj7 Dm7 G Cmaj7 Dm7
Em7 Dm7 Em7
Hava çok yağmurlu duraklar sessiz
Dm7 Em7
İnsanlar nerede ben varım sensiz
Am7 Dm7 Em7
Nereye kayboldun benden habersiz
Fmaj7 Dm7 Em7
Gidecek bir neden göremiyorum
Fmaj7 Dm7 Em7
Ayrılığa bir neden bulamıyorum
Em7 F Em7
Aylar oldu yıllar oldu gelmedin
Fmaj7 Dm7
Senin kadar hiç kimseyi sevmedim
G Cmaj7
Bir gün olsun kıymetimi bilmedin
Dm7 Em7
Ah özledim
Em7 Dm7 Em7
Gülmedi şu bahtım her gün ağladım
Dm7 Em7
Söyle de bileyim sana ne yaptım
Am7 Dm7 Em7
İçimde sönmeyen ateş bıraktın
Fmaj7 Dm7 Em7
Gidecek bir sebep bulamıyorum
Fmaj7 Dm7 Em7
Ayrılığa bir sebep bulamıyorum
Em7 F Em7
Aylar oldu yıllar oldu gelmedin
Fmaj7 Dm7
Senin kadar hiç kimseyi sevmedim
G Cmaj7
Bir gün olsun kıymetimi bilmedin
Dm7 Em7
Ah özledim
End of song Play again?
Elif Buse Doğan - Senin Kadar Hiç Kimseyi Sevmedim Tabs
NotesX
Harmony analysis
Elif Buse Doğan – Senin Kadar Hiç Kimseyi Sevmedim: key and chord analysis
The song opens on Em7 and ends on Em7. 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 C is heard 3 times against 2 for Am. 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 |
|---|---|---|---|---|
| Imaj7 | Cmaj7 | Tonic — home | C · E · G · B | 3× |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 16× |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 20× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IVmaj7 | Fmaj7 | Subdominant — moves away from home | F · A · C · E | 7× |
| IV | F | Subdominant — moves away from home | F · A · C | 2× |
| V | G | Dominant — strongest pull home | G · B · D | 3× |
| vi7 | Am7 | Relative minor — the melancholy side | A · C · E · G | 2× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Am7 | Tonic — home | A · C · E · G | 2× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| IIImaj7 | Cmaj7 | Relative major — the bright side | C · E · G · B | 3× |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 16× |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 20× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VImaj7 | Fmaj7 | Submediant — warm colour | F · A · C · E | 7× |
| VI | F | Submediant — warm colour | F · A · C | 2× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 3× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 53 times in total; 7 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
- G Cmaj7 CV → Imaj7authentic cadence AmVII → IIImaj7 ×3
- Dm7 G Cii7 → Vii → V Amiv7 → VII ×3
- Em7 Am7 Ciii7 → vi7 Amv7 → i7natural-minor cadence ×2
The move to watch is G → Cmaj7, heard 3 times. From the C side it reads V → Imaj7 (authentic cadence: the strongest arrival home); from the Am side it is VII → IIImaj7. 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 Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Fmaj7, 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
The song is already written in its easiest key for guitar.
The song's harmonic story
The opening Em7 lays a solid floor for everything that follows. The backbone is Em7, Dm7, Fmaj7, G — iii7–ii7–IVmaj7–V from the C side, v7–iv7–VImaj7–VII 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 → Cmaj7 (V → Imaj7 in C, VII → IIImaj7 in Am): authentic cadence — the strongest arrival home. It closes on Em7, 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.
Elif Buse Doğan - Senin Kadar Hiç Kimseyi Sevmedim 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: Halit ÇelikoğluMusic: Dündar YeşiltoprakArrangement: Emre Doğan
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