Major view
F major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = E (leading tone, pulls home)
- 4 = Bb (the note that leans on the 3rd)
TNK - Sen Yoksun - Chord
Key F major – D minor Chords Dm, Gm, Am, C, Bb, Em Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Am Gm Dm Hayır hiç ağlamadım, sadece biraz doldu gözlerim Am Gm Dm Hayır hiç hiç ağlamadım, sadece biraz doldu gözlerim C Bb Bu hiç iyi değil, resmen iyi değil Am Gm Dm Sen kapıdan çıkarken, dur bir dakika diyemedim Am Gm Dm Vicdanın içimi yakarken, bu kez sana söz veremedim C Bb Bu hiç iyi değil, resmen iyi değil Dm Am Gm Sen yoksun ya, evim uçurum kenarları Dm Am Gm Sen gittin ya, kıpkırmızı sabahlarım Dm Am Gm Sen boşluğumda, hem kışımdın, hem güneşim Dm Am Gm Ne senle ne de sensiz olabildim Am Gm Dm Hayır hiç ağlamadım, sadece biraz doldu gözlerim Am Gm Dm Sen kapıdan çıkarken, dur bir dakika diyemedim C Bb Bu hiç iyi değil, resmen iyi değil Dm Em Affet geri dönmesen bile Dm Em Affet hiç istemesen bile Dm C Gm Affet lütfen affet
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TNK - Sen Yoksun Tabs
NotesX
Harmony analysis
TNK – Sen Yoksun: key and chord analysis
The song opens on Am and ends on Gm. Its chords belong to both F major and Dm, so every chord below is read both ways.
Minor view
D minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Bb (the minor's melancholy)
- b7 = C (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the D minor side because Dm is heard 13 times while F never appears. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 | F | Tonic — home | F · A · C | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 11× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 10× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 3× |
| V | C | Dominant — strongest pull home | C · E · G | 4× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 13× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| vii | Em | Chromatic colour chordoutside the key | E · G · B | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 13× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| ii | Em | Chromatic colour chordoutside the key | E · G · B | 2× |
| III | F | Relative major — the bright side | F · A · C | — |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 11× |
| v | Am | Minor dominant — soft pull | A · C · E | 10× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 3× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 4× |
Analysis
The key pair is F major and its relative D minor (1 flat). 6 different chords appear 43 times in total; 5 of them sit naturally inside the shared scale. Em step outside the scale as colour chords.
Chord movement
- Gm Dm Fii → vi Dmiv → iminor plagal ×9
- Bb Dm FIV → vi DmVI → iVI → i ×2
The move to watch is Gm → Dm, heard 9 times. From the Dm side it is iv → i (minor plagal: deep and melancholic); from the F side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Gm, land on G, Bb, 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.
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 F major shapes
- Capo 1 + E shapes
- Capo 3 + D shapes
- Capo 5 + C shapes
With D minor shapes
- No capo — open Dm shapes
- Capo 5 + Am shapes
Easiest keys on guitar
- 5 semitones down · capo 5 keeps the original pitch
- 2 semitones up
The song's harmonic story
The first chord is Am; the ear learns where home is within a second. The backbone is Dm, Gm, Am, C — vi–ii–iii–V from the F side, i–iv–v–VII from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → Dm (ii → vi in F, iv → i in Dm): minor plagal — deep and melancholic. The final chord is Gm; the ear comes to rest in F.
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.
TNK - Sen Yoksun 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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