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)
Gökhan Kırdar - Yerine Sevemem - Chord
Key C major – A minor Chords G, Am, F, Dm7, C, Em, Dm Easy key G (capo 5)
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Key: C | Am
Capo: 0
Am Dm7 G
Senden uzakta hep bir şeyler eksik
Am Dm G
Gönlümde derman yok, inan bir nefeslik
C F G
Ne bir avuntu, ne de biraz ümit
C F G
Ne yaptın bana, nedir bu sessizlik
Am G F Em Dm7
İçimde bir şey acıyor sen gelince aklıma, her şeyim
Am G
Yerine sevemem, yerine sevemem
F G
Razıyım yapayalnız tükensin yıllarım ama
Am G
Yerine sevemem, yerine sevemem
G F Em Dm7 Am
Olmuyor, denedim,yine de yerine sevemedim her şeyim
End of song Play again?
Gökhan Kırdar - Yerine Sevemem Tabs
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Harmony analysis
Gökhan Kırdar – Yerine Sevemem: 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.
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 both starts and finishes on Am and Am is heard 6 times against 2 for C. 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 | 2× |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 3× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 1× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 2× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 5× |
| V | G | Dominant — strongest pull home | G · B · D | 9× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 6× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 6× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 2× |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 3× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 1× |
| v | Em | Minor dominant — soft pull | E · G · B | 2× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 5× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 9× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 28 times in total; 7 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×3
- F G CIV → VIV → V AmVI → VIIVI → VII ×3
- G C CV → Iauthentic cadence AmVII → III ×2
- Dm7 Am Cii7 → vi Amiv7 → iminor plagal ×2
- Dm7 G Cii7 → Vii → V Amiv7 → VII ×1
- Dm G Cii → Vii → V Amiv → VII ×1
The move to watch is G → Am, heard 3 times. From the Am side it is VII → i (Aeolian arrival: rises a whole tone into home); from the C side it reads V → vi (deceptive cadence: expected C, lands on Am). 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 G, land on G, B, D — 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.
- Over F, 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
- 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. G, Am, F, Dm7 carry the song: V–vi–IV–ii7 relative to C, VII–i–VI–iv7 relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → Am (V → vi in C, VII → i in Am): Aeolian arrival — rises a whole tone into home. Ending on Am, the song seals Am 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.
Gökhan Kırdar - Yerine Sevemem 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: Gökhan KırdarMusic: Gökhan Kırdar
Zeynep TaluArrangement: Tarık Sezer
Zeynep TaluArrangement: Tarık Sezer
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