Manuş Baba - Seni Seviyorum - Chord

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

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Capo 0

F  G  Am  Am  Dm  C  Am

Am   G        Am
Seniiii seviyorum
F    G        Am
Seniiii özlüyorum
      F      G         Am
Tükendim içinde, biliyorum
     Dm       F         Am
Bitirdim kendimi, görüyorum
 
G             Am
Seniii unutamıyorum
G      F     Am
Seniii özlüyorum
 
Am       G       F           Am
Gel beni kurtar, düştüğümü görmeden
         G       F           E
Gel beni kurtar, öldüğümü bilmeden
Am       G       F           Am
Gel beni kurtar, düştüğümü görmeden
         G       F           G
Gel beni kurtar, vurulduğumu bilmeden
 
F       Dm        G
Ve elimde bir cinayet
         F
Kalbimde kan lekesi
Am        F
İzleri sildim evet
G         F
Üstünde cesetleri
 
G           Am
Seni ben sevdim
G            Am
Seni hep bildim

Am       G       F           Am
Gel beni kurtar, düştüğümü görmeden
         G       F              G
Gel beni kurtar, boğulduğumu bilmeden

F       Dm        G
Ve elimde bir cinayet
         F
Kalbimde kan lekesi
Am        F
İzleri sildim evet
G         F
Üstünde cesetleri

G          Am
Seni seviyorum
G          Am
Seni özlüyorum

End of song Play again?

Manuş Baba - Seni Seviyorum Tabs

NotesX

Harmony analysis

Manuş Baba – Seni Seviyorum: key and chord analysis

The song opens on F 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 comes to rest on Am, Am is heard 22 times against 1 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	1×
ii	Dm	Supertonic — prepares the dominant	D · F · A	4×
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	1×
IV	F	Subdominant — moves away from home	F · A · C	19×
V	G	Dominant — strongest pull home	G · B · D	22×
vi	Am	Relative minor — the melancholy side	A · C · E	22×
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	22×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	1×
iv	Dm	Subdominant — moves away from home	D · F · A	4×
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	1×
VI	F	Submediant — warm colour	F · A · C	19×
VII	G	Subtonic — steps back to the tonic	G · B · D	22×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 69 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.

Chord movement

G Am CV → videceptive cadence AmVII → iAeolian arrival ×9
F G CIV → VIV → V AmVI → VIIVI → VII ×9
F Am CIV → vi AmVI → iVI → i ×7
Dm G Cii → Vii → V Amiv → VII ×2
E Am CV/vi → vi AmV → iharmonic-minor cadence ×1

The move to watch is G → Am, heard 9 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.
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

Starting on F, the song gives away its key from the very first bar. The chords that keep coming back are G, Am, F, Dm; read them as V–vi–IV–ii in C or VII–i–VI–iv 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 → 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.