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)
İlhan Şeşen - Sensiz Olmaz (Grup Gündoğarken) - Chord
Key C major – A minor Chords Dm, G, C, F, Bm7b5, E, Am Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Dm G C F Bm7b5 E Am
Dm G C F
Bir dokun, bin ah işit, bugünlerde böyleyim
Bm7b5 E Am
İster kal, ister git tarifsiz kederdeyim
Dm G C F
Gösterdin aşkın ucunu, öyle bıraktın gittin
Bm7b5 E Am
Bana attın suçunu, davayı ben kaybettim
Dm G C F
Ah olmaz, olmaz, sensiz olmaz, sensiz olmaz
Bm7b5 E Am
Yanıyor yanaklarım, gözyaşlarım durulmaz
Dm G C F Bm7b5 E Am
Dm G C F
Aşk tanımaz gece gündüz birbirine katar gider
Bm7b5 E Am
Ne bahar dinler, ne güz güze bahar katar gider
Dm G C F
Ben böyle aşk görmedim, daha neler görmek var
Bm7b5 E Am
Ne istedin de vermedim, başka nasıl sevmek var
Dm G C F
Ah olmaz, olmaz, sensiz olmaz, sensiz olmaz
Bm7b5 E Am
Yanıyor yanaklarım, gözyaşlarım durulmaz
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İlhan Şeşen - Sensiz Olmaz (Grup Gündoğarken) Tabs
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Harmony analysis
İlhan Şeşen – Sensiz Olmaz (Grup Gündoğarken): key and chord analysis
The song opens on Dm and ends on Am. Its chords belong to both C major and Am, so every chord below is read both ways.
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 comes to rest on Am 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | 8× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 8× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | 8× |
| IV | F | Subdominant — moves away from home | F · A · C | 8× |
| V | G | Dominant — strongest pull home | G · B · D | 8× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 8× |
| viiø7 | Bm7b5 | Leading-tone chord — tension | B · D · F · A | 8× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 8× |
| iiø7 | Bm7b5 | Supertonic — prepares the dominant | B · D · F · A | 8× |
| III | C | Relative major — the bright side | C · E · G | 8× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 8× |
| 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 | 8× |
| VI | F | Submediant — warm colour | F · A · C | 8× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 8× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 56 times in total; 6 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.
Chord movement
- G C CV → Iauthentic cadence AmVII → III ×8
- E Am CV/vi → vi AmV → iharmonic-minor cadence ×8
- Dm G Cii → Vii → V Amiv → VII ×8
- Bm7b5 E Cviiø7 → V/vi Amiiø7 → Vii° → V ×8
The move to watch is G → C, heard 8 times. From the Am side it is VII → III; from the C side it reads V → I (authentic cadence: the strongest arrival 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, D — 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.
- When E comes, swap the scale's G for G#: 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 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
The song is already written in its easiest key for guitar.
The song's harmonic story
The first chord is Dm; the ear learns where home is within a second. The chords that keep coming back are Dm, G, C, F; read them as ii–V–I–IV in C or iv–VII–III–VI in 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 G → C (V → I in C, VII → III in Am): authentic cadence — the strongest arrival home. It closes on Am, letting the Am 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.
İlhan Şeşen - Sensiz Olmaz (Grup Gündoğarken) 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: İlhan ŞeşenMusic: İlhan Şeşen
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