Sezen Aksu - Canımsın Sen - Chord

Key E major – C# minor Chords C#m, Amaj7, G#m7, F#m7, F#m, B Easy key C (capo 4)

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Capo 0

      C#m           Amaj7         F#m7               G#m7
Adın başka, tadın başka, sığmıyorsun ele avuca delisin sen
     C#m          Amaj7         F#m7                   G#m7
Dilerim ki benle yaşa, bildiklerin ezber değil, yenisin sen

              Amaj7                     F#m
Boşuna mı yaprak gibi rüzgarına kapıldım ben
           B              G#m7       C#m
Unutup kendimi bir divaneye takıldım ben
          Amaj7                 F#m
Ayağı eşikten dışarda, git gidersen
            B             G#m7           C#m
Bu gönül senden çoktan razı, nasıl istersen

      C#m          Amaj7         F#m7                  G#m7
Delip geçen gözlerinle, söylenmemiş sözlerinle, sırsın sen
      C#m         Amaj7            F#m7                 G#m7
Hiç oyunsuz, sorunsuz, ne bir eksik ne bir fazla, canımsın sen

        C#m           Amaj7    F#m7                 G#m7
Senden önce senden sonra, iki ayrı devir, iki ayrı dünya
      C#m          Amaj7           F#m7            G#m7
Bir daha da olmayacak, hiçbir şey eskisi gibi yarınlarda

              Amaj7                     F#m
Boşuna mı yaprak gibi rüzgarına kapıldım ben
           B              G#m7       C#m
Unutup kendimi bir divaneye takıldım ben
          Amaj7                 F#m
Ayağı eşikten dışarda, git gidersen
            B             G#m7           C#m
Bu gönül senden çoktan razı, nasıl istersen

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Sezen Aksu - Canımsın Sen Tabs

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Harmony analysis

Sezen Aksu – Canımsın Sen: key and chord analysis

The song opens on C#m and ends on C#m. Its chords belong to both E major and C#m, so every chord below is read both ways.

Major view

E major

Brightness rank 2/7 (bright)

Characteristic notes

7 = D# (leading tone, pulls home)
4 = A (the note that leans on the 3rd)

Minor view

C# minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = A (the minor's melancholy)
b7 = B (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C# minor side because it both starts and finishes on C#m and C#m is heard 10 times while E never appears. That is an interpretation, not a rule — the same chords are just as valid seen from E 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 E or to C#m; 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 E major
Degree	Chord	Role	Notes	In song
I	E	Tonic — home	E · G# · B	—
ii7	F#m7	Supertonic — prepares the dominant	F# · A · C# · E	6×
ii	F#m	Supertonic — prepares the dominant	F# · A · C#	4×
iii7	G#m7	Mediant — a tonic-family shade	G# · B · D# · F#	10×
V/vi	G#	Secondary dominant V/vi — leads to C#msecondary dominant	G# · B# · D#	—
IVmaj7	Amaj7	Subdominant — moves away from home	A · C# · E · G#	10×
V	B	Dominant — strongest pull home	B · D# · F#	4×
vi	C#m	Relative minor — the melancholy side	C# · E · G#	10×
vii°	D#dim	Leading-tone chord — tension	D# · F# · A	—

Seen from C# minor
Degree	Chord	Role	Notes	In song
i	C#m	Tonic — home	C# · E · G#	10×
ii°	D#dim	Supertonic — prepares the dominant	D# · F# · A	—
III	E	Relative major — the bright side	E · G# · B	—
iv7	F#m7	Subdominant — moves away from home	F# · A · C# · E	6×
iv	F#m	Subdominant — moves away from home	F# · A · C#	4×
v7	G#m7	Minor dominant — soft pull	G# · B · D# · F#	10×
V	G#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G# · B# · D#	—
VImaj7	Amaj7	Submediant — warm colour	A · C# · E · G#	10×
VII	B	Subtonic — steps back to the tonic	B · D# · F#	4×

Analysis

The key pair is E major and its relative C# minor (4 sharps). 6 different chords appear 44 times in total; 6 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#m7 C#m Eiii7 → vi C#mv7 → inatural-minor cadence ×8
F#m B Eii → Vii → V C#miv → VII ×4

The move to watch is G#m7 → C#m, heard 8 times. From the C#m side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the E side it reads iii7 → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

E major pentatonic and C# minor pentatonic are the same five notes (E – F# – G# – B – C#): start from E for a brighter phrase, from C# for a bluesier one.
Over C#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
Over Amaj7, land on A, C#, E — the chord's own tones always sound right on strong beats.
Over G#m7, land on G#, B, D# — 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 E major shapes

No capo — open E shapes
Capo 2 + D shapes
Capo 4 + C shapes

With C# minor shapes

Capo 4 + Am shapes

Easiest keys on guitar

4 semitones down · capo 4 keeps the original pitch
3 semitones up

The song's harmonic story

The first chord is C#m; the ear learns where home is within a second. The backbone is C#m, Amaj7, G#m7, F#m7 — vi–IVmaj7–iii7–ii7 from the E side, i–VImaj7–v7–iv7 from the C#m side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G#m7 → C#m (iii7 → vi in E, v7 → i in C#m): natural-minor cadence — gentle, modal arrival. The final chord is C#m; the ear comes to rest in C#m.

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.