Major view
E major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D# (leading tone, pulls home)
- 4 = A (the note that leans on the 3rd)
Sefo - Senden Kalanlar - Demet Akalın - Chord
Key E major – C# minor Chords Amaj7, G#m7, F#m7 Easy key C (capo 4)
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Key: E | Dbm | C#m
Capo: 0
Amaj7 G#m7
Amaj7
İstanbul’un telaşındayım
G#m7
Bi kaldırım taşındayım, 26 yaşındayım
Amaj7
Bi’ durun üstüme gelmeyin
G#m7
Bir sidik yarışındayım
Ben neyin savaşındayım
Amaj7 G#m7
Ooooo, bana zaman gerek, evet bana zaman gerek
Amaj7 G#m7
Ooooo, geçmez zamanla, bana senden kalanlar
x2
Amaj7
Yollarında divane, her gün farklı bi’ sayendeyim
G#m7
Ellerindeyim daha ne? Sırlarında bi’ alemdeyim
Amaj7
Dertlerim büyük oooh, sırtlarım da yaban eldeyim
G#m7
Yüzde farklı ifade, ben kimim? nerelerdeyim?
Amaj7
Yanındayım seninleyim
F#m7
Hiç olmadığım biriyleyim
G#m7
Seçtiğin tarafındayım ah
Çektiğin nefesindeyim
F#m7
Yarın mı? dün mü? belli değil
Amaj7
Zaman kayar elimde değil
G#m7
İstediğimse belli sen
Karar senin benim değil
Amaj7 G#m7
Ooooo, bana zaman gerek, evet bana zaman gerek
Amaj7 G#m7
Ooooo, geçmez zamanla, bana senden kalanlar
x2
End of song Play again?
Sefo - Senden Kalanlar - Demet Akalın Tabs
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Harmony analysis
Sefo – Senden Kalanlar - Demet Akalın: key and chord analysis
The song opens on Amaj7 and ends on G#m7. Its chords belong to both E major and C#m, so every chord below is read both ways.
Minor view
C# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = A (the minor's melancholy)
- b7 = B (natural-minor colour)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between E major and C# minor. Try reading the chords both ways and see which feels more like home to you.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to E or to C#m; 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 | E | Tonic — home | E · G# · B | — |
| ii7 | F#m7 | Supertonic — prepares the dominant | F# · A · C# · E | 2× |
| iii7 | G#m7 | Mediant — a tonic-family shade | G# · B · D# · F# | 11× |
| III | G# | Chromatic colour chordoutside the key | G# · B# · D# | — |
| IVmaj7 | Amaj7 | Subdominant — moves away from home | A · C# · E · G# | 11× |
| V | B | Dominant — strongest pull home | B · D# · F# | — |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | — |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | — |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| III | E | Relative major — the bright side | E · G# · B | — |
| iv7 | F#m7 | Subdominant — moves away from home | F# · A · C# · E | 2× |
| v7 | G#m7 | Minor dominant — soft pull | G# · B · D# · F# | 11× |
| V | G# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G# · B# · D# | — |
| VImaj7 | Amaj7 | Submediant — warm colour | A · C# · E · G# | 11× |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | — |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 3 different chords appear 24 times in total; 3 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
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
Improvisation tips
- E major pentatonic and C# minor pentatonic are the same five notes (E – F# – G# – B – C#): start from E for a brighter phrase, from C# for a bluesier one.
- Over Amaj7, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over G#m7, land on G#, B, D# — the chord's own tones always sound right on strong beats.
- Over F#m7, 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 E major shapes
- No capo — open E shapes
- Capo 2 + D shapes
- Capo 4 + C shapes
With C# minor shapes
- Capo 4 + Am shapes
Easiest keys on guitar
- 4 semitones down · capo 4 keeps the original pitch
- 3 semitones up
The song's harmonic story
The first chord is Amaj7; the ear learns where home is within a second. The backbone is Amaj7, G#m7, F#m7 — IVmaj7–iii7–ii7 from the E side, VImaj7–v7–iv7 from the C#m side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Ending on G#m7, the song seals E 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.
Sefo - Senden Kalanlar - Demet Akalın 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: Seyfullah SağırMusic: Seyfullah SağırArrangement: Serdar Özşengül
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