Pinhani - Sakinleştim - Chord

Key G major – E minor Chords Bm, Em, Am, C, D, G Easy key C (capo 7)

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Capo 0

Em      Bm          Am
Sakinleştim, tuz bastım yarama
      C         D             Em
Belki sonsuza kadar sustu yüreğim
        Bm          Am
Sakinleştim, yok, olmaz bi daha
      C         D             Em
Böyle resmine bakıp ordan severim

G                       Bm
Deli deli bağırırken buldular beni
G                       Bm
Bir odaya bir başıma koydular beni
Em                    Bm
Ama yine tehlikeli buldular beni
       Am
Öyle miyim?

G                    Bm
Yatağıma yatmıştım, uyandırdılar
G                    Bm
Hep içime atmıştım, utandırdılar
Em                     Bm
Deli gibi sevmiştim, zayıf sandılar
       Am
Öyle miyim?

Em      Bm          Am
Sakinleştim, tuz bastım yarama
      C         D             Em
Belki sonsuza kadar sustu yüreğim
        Bm          Am
Sakinleştim, yok, olmaz bi daha
      C         D             Em
Böyle resmine bakıp ordan severim

Em  Bm  Am  C  D  

Em      Bm          Am
Sakinleştim, tuz bastım yarama
      C         D             Em
Belki sonsuza kadar sustu yüreğim
        Bm          Am
Sakinleştim, yok, olmaz bi daha
      C         D             Em
Böyle resmine bakıp ordan severim

G                       Bm
Deli deli bağırırken buldular beni
G                       Bm
Bir odaya bir başıma koydular beni
Em                    Bm
Ama yine tehlikeli buldular beni
       Am
Öyle miyim?

Em      Bm          Am
Sakinleştim, tuz bastım yarama
      C         D             Em
Belki sonsuza kadar sustu yüreğim
        Bm          Am
Sakinleştim, yok, olmaz bi daha
      C         D             Em
Böyle resmine bakıp ordan severim

Em      Bm       Am
Sakinleştim akşamdan sabaha
      C           D              Em
Belki ders alır gönül, olmaz sebebim
        Bm          Am
Sakinleştim, yok, olmaz bi daha
      C         D             Em
Böyle resmine bakıp ordan severim

Em     Bm   Am  C  D
Sakinleeeeeştim
Em     Bm   Am  C  D
Sakinleeeeeştim

End of song Play again?

Pinhani - Sakinleştim Tabs

NotesX

Harmony analysis

Pinhani – Sakinleştim: key and chord analysis

The song opens on Em and ends on D. 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 21 times against 6 for G. 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	6×
ii	Am	Supertonic — prepares the dominant	A · C · E	16×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	22×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	13×
V	D	Dominant — strongest pull home	D · F# · A	13×
vi	Em	Relative minor — the melancholy side	E · G · B	21×
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	21×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	6×
iv	Am	Subdominant — moves away from home	A · C · E	16×
v	Bm	Minor dominant — soft pull	B · D · F#	22×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	13×
VII	D	Subtonic — steps back to the tonic	D · F# · A	13×

Analysis

The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 91 times in total; 6 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 ×13
D Em GV → videceptive cadence EmVII → iAeolian arrival ×12
Bm Em Giii → vi Emv → inatural-minor cadence ×3
Am Em Gii → vi Emiv → iminor plagal ×2

The move to watch is C → D, heard 13 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 Bm, land on B, D, F# — 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 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 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

5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

Starting on Em, the song gives away its key from the very first bar. Bm, Em, Am, C carry the song: iii–vi–ii–IV relative to G, v–i–iv–VI 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 D, 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.