Major view
F major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = E (leading tone, pulls home)
- 4 = Bb (the note that leans on the 3rd)
Sena Şahin - Vicdanın Hakkında - Chord
Key F major – D minor Chords Bbmaj7, A7, Dm7, Gm7, Am7 Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm7 Bbmaj7 Gm7 A7
Dm7 Bbmaj7 Gm7
Ah kime seslensem sana aslında
A7
Bi rüya gibiydin ince uykumda
Dm7 Bbmaj7 Gm7
Yazık, topal aşkımla sana koştum da
A7
Yanılmışım vicdanın hakkında
Dm7
Kirpiklerinde bi huy var
Am7
Haneme yazıyo günahlar
Gm7 Bbmaj7
Böyle gülersen bir ben değil
A7
Hayran kalır tüm beyazlar
Dm7
Yoksul saadetimle baştan
Am7
Hevesleniyoruz bir rüyaya
Gm7
Çizilmemiş böyle dudaklar
Bbmaj7 A7
Keşke sadece benim olsa
Dm7 Am7 Bbmaj7 A7
Aaaaaaah, vuruluyorum iki gözümde iki damla
Gm7 Bbmaj7 A7
Aaaaaaah, bulmaz yüreğim başkasında fayda
Dm7 Am7 Bbmaj7 A7
Aaaaaaah, peki nolucak biz ayrılınca sorma
Gm7 Bbmaj7 A7
Aaaaaaah, o kabus kıyamet
Dm7 Bbmaj7 Gm7 A7
x2
Dm7 Bbmaj7 Gm7
Ah kime seslensem sana aslında
A7
Bi rüya gibiydin ince uykumda
Dm7 Bbmaj7 Gm7
Yazık, topal aşkımla sana koştum da
A7
Yanılmışım vicdanın hakkında
x2
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Sena Şahin - Vicdanın Hakkında Tabs
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Harmony analysis
Sena Şahin – Vicdanın Hakkında: key and chord analysis
The song opens on Dm7 and ends on A7. Its chords belong to both F major and Dm, so every chord below is read both ways.
Minor view
D minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Bb (the minor's melancholy)
- b7 = C (natural-minor colour)
- #7 = C# (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 D minor side because it opens on Dm, Dm is heard 10 times while F never appears and the major V chord points straight at Dm. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 | F | Tonic — home | F · A · C | — |
| ii7 | Gm7 | Supertonic — prepares the dominant | G · Bb · D · F | 10× |
| iii7 | Am7 | Mediant — a tonic-family shade | A · C · E · G | 4× |
| V7/vi | A7 | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E · G | 12× |
| IVmaj7 | Bbmaj7 | Subdominant — moves away from home | Bb · D · F · A | 12× |
| V | C | Dominant — strongest pull home | C · E · G | — |
| vi7 | Dm7 | Relative minor — the melancholy side | D · F · A · C | 10× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Dm7 | Tonic — home | D · F · A · C | 10× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | — |
| iv7 | Gm7 | Subdominant — moves away from home | G · Bb · D · F | 10× |
| v7 | Am7 | Minor dominant — soft pull | A · C · E · G | 4× |
| V7 | A7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E · G | 12× |
| VImaj7 | Bbmaj7 | Submediant — warm colour | Bb · D · F · A | 12× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | — |
Analysis
The key pair is F major and its relative D minor (1 flat). 5 different chords appear 48 times in total; 4 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A7 is V7/vi, a secondary dominant heading for Dm.
Chord movement
- A7 Dm7 FV7/vi → vi7secondary resolution DmV7 → i7harmonic-minor cadence ×9
- Gm7 A7 Fii7 → V7/vi Dmiv7 → V7iv → V ×6
The move to watch is A7 → Dm7, heard 9 times. From the Dm side it is V7 → i7 (harmonic-minor cadence: the major V resolves dramatically); from the F side it reads V7/vi → vi7 (secondary resolution: A7 resolves a fourth up to Dm7). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
- Over Bbmaj7, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over A7, land on A, C#, E — 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.
- When A7 comes, swap the scale's C for C#: that single note is the harmonic-minor sound of the chord.
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 F major shapes
- Capo 1 + E shapes
- Capo 3 + D shapes
- Capo 5 + C shapes
With D minor shapes
- No capo — open Dm shapes
- Capo 5 + Am shapes
Easiest keys on guitar
- 5 semitones down · capo 5 keeps the original pitch
- 2 semitones up
The song's harmonic story
Starting on Dm7, the song gives away its key from the very first bar. Bbmaj7, A7, Dm7, Gm7 carry the song: IVmaj7–V7/vi–vi7–ii7 relative to F, VImaj7–V7–i7–iv7 relative to Dm. A7 is the interesting twist: in F it is a chromatic chord (V7/vi), while in Dm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on A7 → Dm7 (V7/vi → vi7 in F, V7 → i7 in Dm): harmonic-minor cadence — the major V resolves dramatically. It closes on A7, letting the F 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.
Sena Şahin - Vicdanın Hakkında 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: Sena ŞahinMusic: Sena ŞahinArrangement: Aytaç Özgümüş, Sena Şahin
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