Sıla Şahin - Sardım Seni x Samet Kardeşler - Chord

Key G major – E minor Chords C, Em, D, Bm, Am Difficulty already in its easiest key

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Capo 0

Em  Em  D  D

Em
Sardım seni tatlım

Bırakmam herşeyim oldun dinle
D
Nabzım hiç usanmaz yavaş atmaz

Seni gördüğü yerde
C
İnanma bi rivayet uğruna
     Bm
Bizi yakma böyle
C            Am
Senden başka yok ki kimse
C
Kör olsun baksa bu gözler

Em
Sabahın beşi uyuyorum içip
C
Ayağa kaldıran yok ki beni bişi
D
Senin gidişin eşit sabrın direnişi
Bm
Geri dönüşün olur kalbin dirilişi

Em
Bu veda gibi dönmüyor geri
C
Uçurumun eşiği ikimizin beşiği
D
Sallanıyoruz tut bırakma bizi
Bm
Sanıyorlardı ikimizi bi ruh ikizi

Em      C        D        C
Zor geliyor, çok zor geliyor
Am       C   Bm
Zor geliyor, zor geliyor

Em
Sardım seni tatlım

Bırakmam herşeyim oldun dinle
D
Nabzım hiç usanmaz yavaş atmaz

Seni gördüğü yerde
C
İnanma bi rivayet uğruna
     Bm
Bizi yakma böyle
C            Am
Senden başka yok ki kimse
C
Kör olsun baksa bu gözler

End of song Play again?

Sıla Şahin - Sardım Seni x Samet Kardeşler Tabs

NotesX

Harmony analysis

Sıla Şahin – Sardım Seni x Samet Kardeşler: key and chord analysis

The song opens on Em and ends on C. Its chords belong to both G major and Em, so every chord below is read both ways.

Major view

G major

Brightness rank 2/7 (bright)

Characteristic notes

7 = F# (leading tone, pulls home)
4 = C (the note that leans on the 3rd)

Minor view

E minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = C (the minor's melancholy)
b7 = D (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the E minor side because it opens on Em and Em is heard 7 times while G never appears. That is an interpretation, not a rule — the same chords are just as valid seen from G 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 G or to Em; 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 G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	—
ii	Am	Supertonic — prepares the dominant	A · C · E	3×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	5×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	11×
V	D	Dominant — strongest pull home	D · F# · A	7×
vi	Em	Relative minor — the melancholy side	E · G · B	7×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	7×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	—
iv	Am	Subdominant — moves away from home	A · C · E	3×
v	Bm	Minor dominant — soft pull	B · D · F#	5×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	11×
VII	D	Subtonic — steps back to the tonic	D · F# · A	7×

Analysis

The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 33 times in total; 5 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

C D GIV → VIV → V EmVI → VIIVI → VII ×3
Bm Em Giii → vi Emv → inatural-minor cadence ×3
D Em GV → videceptive cadence EmVII → iAeolian arrival ×1
C Em GIV → vi EmVI → iVI → i ×1

The move to watch is C → D, heard 3 times. From the Em side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the G side it reads IV → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
Over C, land on C, E, G — 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 D, land on D, F#, A — 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 G major shapes

No capo — open G shapes
Capo 3 + E shapes
Capo 5 + D shapes

With E minor shapes

No capo — open Em shapes
Capo 2 + Dm shapes
Capo 7 + Am shapes

Easiest keys on guitar

The song is already written in its easiest key for guitar.

The song's harmonic story

Starting on Em, the song gives away its key from the very first bar. C, Em, D, Bm carry the song: IV–vi–V–iii relative to G, VI–i–VII–v relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → D (IV → V in G, VI → VII in Em): VI → VII — the rising step that heads for the tonic. It closes on C, letting the G 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.