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)
Mavi Gri - Sanki Varım Sanki Yokum - Chord
Key C major – A minor Chords Em, Dm, Am, Fmaj7 Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Am Em
Sen unutsan bile benim aklımda
Am Em
Hâlâ saklıyorum resimleri
Fmaj7 Em
Ne olursun çık aklımdan
Dm Em
Attığım her adım senle ilgili
Am Em
Biliyorum ben de normal değil
Am Em
Ne kadar uğraşsam da ismini
Fmaj7 Em
Silemedim kalbim çok tekledi
Dm Em
Diyemedim bak boş kaldı ellerim
Dm Em
Gururun geçince pişmanlık gelince
Fmaj7 Em
Söyle o zaman daha iyi mi?
Dm Em
Ama ben her türlü iyileşirim
Fmaj7
Sen olmadan da güzelleşirim
Em
Umudum daimi
Am Em
Sanki varım sanki yokum
Dm Em
Gel bi’ dokun bana gel bi’ dokun
Am Em
Senin tadın o senin kokun
Dm Em
Sana çıkıyor her yolun sonu
Am Em
Belli değil sağın solun
Dm Em
Gel bi’ sokul bana gel bi’ sokul
Am Em
Ne başı belliydi ne de sonu
Dm Em
Seni yazar kalem her bir satır
Dm Em
Her tarafın benden sorulur
End of song Play again?
Mavi Gri - Sanki Varım Sanki Yokum Tabs
NotesX
Harmony analysis
Mavi Gri – Sanki Varım Sanki Yokum: key and chord analysis
The song opens on Am and ends on Em. 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 A minor side because it opens on Am and Am is heard 8 times while C never appears. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | — |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 9× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 21× |
| 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 | 4× |
| V | G | Dominant — strongest pull home | G · B · D | — |
| vi | Am | Relative minor — the melancholy side | A · C · E | 8× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 8× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv | Dm | Subdominant — moves away from home | D · F · A | 9× |
| v | Em | Minor dominant — soft pull | E · G · B | 21× |
| 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 | 4× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | — |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 42 times in total; 4 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
- Em Am Ciii → vi Amv → inatural-minor cadence ×7
The move to watch is Em → Am, heard 7 times. From the Am side it is v → i (natural-minor cadence: gentle, modal arrival); from the C side it reads iii → 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 Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Am, land on A, C, E — 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 first chord is Am; the ear learns where home is within a second. The backbone is Em, Dm, Am, Fmaj7 — iii–ii–vi–IVmaj7 from the C side, v–iv–i–VImaj7 from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em → Am (iii → vi in C, v → i in Am): natural-minor cadence — gentle, modal arrival. Ending on Em, 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.
Mavi Gri - Sanki Varım Sanki Yokum 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: Akif AlkanMusic: Akif AlkanArrangement: Engincan Onar, Can VS
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