Semicenk - Sende Kalmış - Chord

Key F major – D minor Chords Dm, C, Am, Bb, Gm, F, A Easy key C (capo 5)

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Capo 0

Dm       C         Bb   Am
Nerdeysen bir haber gönder
Dm         C        Bb  Am  Dm
Diğer yarım yanında kalmııııış
Dm       C        Bb  Am
Yaşayamam gelmezsen eğer
Dm        C          Bb  Am  Dm
Yarınlarım hep sende kalmııııış

Dm  Gm   Am 
Ellerinde sıcaklığım
C          Am     Dm
Saçlarında baharlarım
x2

Dm  Gm   C    F
Yüreğinde umutlarım
        Bb  A          Dm   
Gözlerindeeeee gözlerim kalmış
x2

Dm         C      Bb  Am
Karanlıklar ülkesindeyim
Dm       C          Bb   Am  Dm
Işıklarım hep sende kalmııııış
Dm        C        Bb  Am
Çekilmeyen dertlerimleyim
Dm         C          Bb   Am  Dm
Sevinçlerim hep sende kalmııııış

Dm  Gm   Am 
Ellerinde sıcaklığım
C          Am     Dm
Saçlarında baharlarım
x2

Dm  Gm   C    F
Yüreğinde umutlarım
        Bb  A          Dm   
Gözlerindeeeee gözlerim kalmış
x2

End of song Play again?

Semicenk - Sende Kalmış Tabs

NotesX

Harmony analysis

Semicenk – Sende Kalmış: key and chord analysis

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

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)

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 both starts and finishes on Dm, Dm is heard 20 times against 2 for F 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.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	2×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	4×
iii	Am	Mediant — a tonic-family shade	A · C · E	12×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	2×
IV	Bb	Subdominant — moves away from home	Bb · D · F	10×
V	C	Dominant — strongest pull home	C · E · G	12×
vi	Dm	Relative minor — the melancholy side	D · F · A	20×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	20×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	2×
iv	Gm	Subdominant — moves away from home	G · Bb · D	4×
v	Am	Minor dominant — soft pull	A · C · E	12×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	2×
VI	Bb	Submediant — warm colour	Bb · D · F	10×
VII	C	Subtonic — steps back to the tonic	C · E · G	12×

Analysis

The key pair is F major and its relative D minor (1 flat). 7 different chords appear 62 times in total; 6 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 A is V/vi, a secondary dominant heading for Dm.

Chord movement

Am Dm Fiii → vi Dmv → inatural-minor cadence ×10
C F FV → Iauthentic cadence DmVII → III ×2
A Dm FV/vi → vi DmV → iharmonic-minor cadence ×2
Gm C Fii → Vii → V Dmiv → VII ×2

The move to watch is Am → Dm, heard 10 times. From the Dm side it is v → i (natural-minor cadence: gentle, modal arrival); from the F side it reads iii → vi. 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over C, land on C, E, G — 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.
When A 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 Dm, the song gives away its key from the very first bar. Dm, C, Am, Bb carry the song: vi–V–iii–IV relative to F, i–VII–v–VI relative to Dm. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Am → Dm (iii → vi in F, v → i in Dm): natural-minor cadence — gentle, modal arrival. The final chord is Dm; the ear comes to rest in Dm.

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.