MFÖ - Sakın Gelme - Chord

Key C major – A minor Chords Am, G, Am7/G, F#m7b5, Fdim7, E, F, D … Easy key G (capo 5)

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Capo 0

Am   Am7/G   F#m7b5   Fdim7 

Am          Am7/G
  Sakın gelme sözlerim kayıp
F#m7b5        Fdim7
  Ayıp ediyorum kendime
Am        G          E
  Bir sızı var içimde, ölesim tuttu
Am        Am7/G        F#m7b5   Fdim7
  Yaşıyorum gürül gürül kaç gündür
Am           G           Am
  Uyku tutmuyor sakın gelme
 
Am          D             Dm   
  Sakın gelme hazır değilim   
                          
  Deliyim kaç gündür          
F            G               E 
  Lodosum tuttu poyrazım soğuk
 
Am          D           Dm
  Sakın gelme dönesim yok     

  Çok uzaktayım çok           
F           G                
  Bir şarkı var aklımda
E7            E             
  Söylemesi ayıp       
 
Am           G         
  Sözleri kayıp        
Am              G       
  Kaç zamandır dilimde 
F        G   Am        
  Sakın söyleme

End of song Play again?

MFÖ - Sakın Gelme Tabs

NotesX

Harmony analysis

MFÖ – Sakın Gelme: key and chord analysis

The song opens on Am and ends on Am. 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 both starts and finishes on Am, Am is heard 14 times while C never appears 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	—
ii	Dm	Supertonic — prepares the dominant	D · F · A	2×
V/V	D	Secondary dominant V/V — leads to Gsecondary dominant	D · F# · A	2×
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	3×
V7/vi	E7	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B · D	1×
IV	F	Subdominant — moves away from home	F · A · C	3×
iv°7	Fdim7	Chromatic colour chordoutside the key	F · Ab · Cb · D	3×
viiø7/V	F#m7b5	Secondary leading-tone chord viiø7/V — leads to Gsecondary dominant	F# · A · C · E	3×
V	G	Dominant — strongest pull home	G · B · D	7×
vi	Am	Relative minor — the melancholy side	A · C · E	11×
vi7	Am7/G	Relative minor — the melancholy side	A · C · E · G	3×
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	11×
i7	Am7/G	Tonic — home	A · C · E · G	3×
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	2×
IV	D	Major IV — Dorian / melodic-minor colourmodal colour	D · F# · A	2×
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	3×
V7	E7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B · D	1×
VI	F	Submediant — warm colour	F · A · C	3×
vi°7	Fdim7	Chromatic colour chordoutside the key	F · Ab · Cb · D	3×
viiø7/VII	F#m7b5	Secondary leading-tone chord viiø7/VII — leads to Gsecondary dominant	F# · A · C · E	3×
VII	G	Subtonic — steps back to the tonic	G · B · D	7×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 10 different chords appear 38 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 / E7 is V/vi, a secondary dominant heading for Am. F#m7b5, D act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

E Am CV/vi → vi AmV → iharmonic-minor cadence ×3
G Am CV → videceptive cadence AmVII → iAeolian arrival ×3
F G CIV → VIV → V AmVI → VIIVI → VII ×3

The move to watch is E → Am, heard 3 times. From the Am side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the C side it reads V/vi → 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 Am7/G, 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.

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 first chord is Am; the ear learns where home is within a second. Am, G, Am7/G, F#m7b5 carry the song: vi–V–vi7–viiø7/V relative to C, i–VII–i7–viiø7/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 E → Am (V/vi → vi in C, V → i in Am): harmonic-minor cadence — the major V resolves dramatically. 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.