Flört - Sen Yokken - Chord

Key C major – A minor Chords Am, G, Fmaj7, Em, D Difficulty already in its easiest key

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Capo 0

       Am   G                   Fmaj7   Em
Sen yokken, kuşların bile sesi çıkmıyor
    Am       G                   Fmaj7    Em
Sen yokken, İstanbul'un bile hiç tadı yok
    Am       G                  Fmaj7     Em
Sen yokken, arızalarım bir bir depreşiyor
       Am       G              Fmaj7   Em
Ah sen yokken, acılarım iç içe giriyor

D                            Am
Bu sabah sensiz uyandım zor oldu
Am        G             D 
Aşktan mıdır nedir bilmem

Am       G                         Fmaj7   Em
Ses ver bir kuşun kanadına takılıp gelirim
  Am     G               Fmaj7   Em
Uzanıp, nehirlerde akar gelirim
           Am      G                  Fmaj7  Em
Çünkü sen yokken, yağmurun bile tadı olmuyor
      Am    G                Fmaj7   Em
Çağır beni, gönlüme dikilmiş serenim

D                             Am
Bu sabah sensiz uyandım, zor oldu
Am        G             D 
Aşktan mıdır, nedir bilmem

Am   G   Fmaj7   Em

       Am   G       Fmaj7  Em              Am
Sen yokken,  sen yokken    çok zor sen yokken
G      Fmaj7  Em      Am
Sen yokken,   sen yokken
G              Fmaj7  Em          
Çok zor sen yokken

End of song Play again?

Flört - Sen Yokken Tabs

NotesX

Harmony analysis

Flört – Sen Yokken: key and chord analysis

The song opens on Am and ends on Em. 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)

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 and Am is heard 16 times while C never appears. 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	—
ii	Dm	Supertonic — prepares the dominant	D · F · A	—
V/V	D	Secondary dominant V/V — leads to Gsecondary dominant	D · F# · A	4×
iii	Em	Mediant — a tonic-family shade	E · G · B	12×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IVmaj7	Fmaj7	Subdominant — moves away from home	F · A · C · E	12×
V	G	Dominant — strongest pull home	G · B · D	14×
vi	Am	Relative minor — the melancholy side	A · C · E	16×
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	16×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	—
iv	Dm	Subdominant — moves away from home	D · F · A	—
IV	D	Major IV — Dorian / melodic-minor colourmodal colour	D · F# · A	4×
v	Em	Minor dominant — soft pull	E · G · B	12×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VImaj7	Fmaj7	Submediant — warm colour	F · A · C · E	12×
VII	G	Subtonic — steps back to the tonic	G · B · D	14×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 58 times in total; 4 of them sit naturally inside the shared scale. D acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Em Am Ciii → vi Amv → inatural-minor cadence ×9

The move to watch is Em → Am, heard 9 times. From the Am side it is v → i (natural-minor cadence: gentle, modal arrival); from the C side it reads iii → vi. 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 Am, land on A, C, E — 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 Fmaj7, 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 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

Starting on Am, the song gives away its key from the very first bar. Am, G, Fmaj7, Em carry the song: vi–V–IVmaj7–iii relative to C, i–VII–VImaj7–v relative to Am. D adds a moment of surprise: secondary dominant V/V — leads to G. Keep an ear on Em → Am (iii → vi in C, v → i in Am): natural-minor cadence — gentle, modal arrival. It closes on Em, letting the C 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.