Mor ve Ötesi - Küçük Sevgilim - Chord

Key C major – A minor Chords F, E, Am, G, Bb, A, Dm, C … Easy key G (capo 5)

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Capo 0

Am      F     G             E            Am
Benim küçük sevgilim, sen bana neler yaptın
   F           G           E            Am
Böldün parça parça, onlar bilmez onlar bilmez
     F     G             E      Am
Bakarlar yüzüme, sanki yoksun gibi
   F       G        E
Sanki yalanmışız gibi    

Am      F     G             E            Am
Benim küçük sevgilim, sen bana neler yaptın
     F         G             E           Am
Kırdın defalarca, onlar bilmez onlar bilmez
    F       G            E      Am
Vururlar yüzüme, sanki yoksun gibi
    F      G       E
Sanki yalanmışız gibi      

Dm      Bb      C            A           Dm
Benim küçük sevgilim, ben sana neler yaptım
     Bb          C            A          Dm
Kızdın sayfalarca, onlar bilmez onlar bilmez
      Bb     C             A       Dm
Yakarlar canımı, sanki yoksun gibi
      Bb     C    A
Sanki yalanmışız gibi

Dm     Bb        C              A
Benim küçük sevgilim, sanki yalanmış gibi
Bb              A                       
Benim küçük sevgilim, sanki masalmış gibi

Gm   F   A   Bb   Dm   E

End of song Play again?

Mor ve Ötesi - Küçük Sevgilim Tabs

NotesX

Harmony analysis

Mor ve Ötesi – Küçük Sevgilim: key and chord analysis

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

Major view

C major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)
#7 = G# (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 A minor side because it opens on Am, Am is heard 8 times against 5 for C and the major V chord points straight at Am. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	5×
ii	Dm	Supertonic — prepares the dominant	D · F · A	6×
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	9×
IV	F	Subdominant — moves away from home	F · A · C	9×
V	G	Dominant — strongest pull home	G · B · D	8×
v	Gm	Chromatic colour chordoutside the key	G · Bb · D	1×
vi	Am	Relative minor — the melancholy side	A · C · E	8×
V/ii	A	Secondary dominant V/ii — leads to Dmsecondary dominant	A · C# · E	7×
bVII	Bb	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	Bb · D · F	7×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	8×
V/iv	A	Secondary dominant V/iv — leads to Dmsecondary dominant	A · C# · E	7×
bII	Bb	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Bb · D · F	7×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	5×
iv	Dm	Subdominant — moves away from home	D · F · A	6×
v	Em	Minor dominant — soft pull	E · G · B	—
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	9×
VI	F	Submediant — warm colour	F · A · C	9×
VII	G	Subtonic — steps back to the tonic	G · B · D	8×
vii	Gm	Chromatic colour chordoutside the key	G · Bb · D	1×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 9 different chords appear 60 times in total; 5 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E is V/vi, a secondary dominant heading for Am. A acts as a secondary dominant, briefly pointing at another chord of the key. Bb is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

F G CIV → VIV → V AmVI → VIIVI → VII ×8
E Am CV/vi → vi AmV → iharmonic-minor cadence ×7
Bb C CbVII → IbVII → I AmbII → III ×5
Dm E Cii → V/vi Amiv → Viv → V ×1

The move to watch is F → G, heard 8 times. From the Am side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the C 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

C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
Over E, 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.
When E comes, swap the scale's G for G#: that single note is the harmonic-minor sound of the chord.
On Bb, follow the chord's notes (Bb · D · F) rather than the key's scale — it's a borrowed colour.

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 C major shapes

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

The opening Am lays a solid floor for everything that follows. F, E, Am, G carry the song: IV–V/vi–vi–V relative to C, VI–V–i–VII relative to Am. E is the interesting twist: in C it is a chromatic chord (V/vi), while in Am it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on F → G (IV → V in C, VI → VII in Am): VI → VII — the rising step that heads for the tonic. Ending on E, the song seals C 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.