Haluk Levent - Kendime Göre - Chord

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

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Capo 0

Am  G  Am  G  Dm  Dm  F

Am
Çözün bu ipleri benim üstümden
G
Vazgeçmişken yola çıkmışken
Am
Tekedilmiş, incitilmiş ve kayıp
G
Diken üstünde durup dururken

Dm                Am
Bırak kızarsın yüzüm
    G
Düşünen tarafım
     Am   Bm  C 
Kendine gelirrken

Dm                Am
Bırak tepinsinler üstümde
  G
Bilen bilmeyen

Kendime göre

     Dm
Sebeplerim var benim, mazeretlerim var

Dualarımız var, kabul olunmayan dileklerimiz
Am                                F
Kendime göre bir yol buldum ve kayboldum
G           Am    G         F       G
Tam bana göreeeeeeee, tam bana göreee
            Am  G  Am  G  Dm  Dm  F
Tam bana göre

End of song Play again?

Haluk Levent - Kendime Göre Tabs

NotesX

Harmony analysis

Haluk Levent – Kendime Göre: key and chord analysis

The song opens on Am and ends on F. 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the A minor side because it opens on Am and Am is heard 11 times against 1 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.

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	7×
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	4×
V	G	Dominant — strongest pull home	G · B · D	11×
vi	Am	Relative minor — the melancholy side	A · C · E	11×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—
vii	Bm	Chromatic colour chordoutside the key	B · D · F#	1×

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	11×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
ii	Bm	Chromatic colour chordoutside the key	B · D · F#	1×
III	C	Relative major — the bright side	C · E · G	1×
iv	Dm	Subdominant — moves away from home	D · F · A	7×
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	—
VI	F	Submediant — warm colour	F · A · C	4×
VII	G	Subtonic — steps back to the tonic	G · B · D	11×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 35 times in total; 5 of them sit naturally inside the shared scale. Bm step outside the scale as colour chords.

Chord movement

G Am CV → videceptive cadence AmVII → iAeolian arrival ×6
Dm Am Cii → vi Amiv → iminor plagal ×3
F G CIV → VIV → V AmVI → VIIVI → VII ×2
F Am CIV → vi AmVI → iVI → i ×1

The move to watch is G → Am, heard 6 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 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 Dm, land on D, F, A — 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. Am, G, Dm, F carry the song: vi–V–ii–IV relative to C, i–VII–iv–VI 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. The final chord is F; the ear comes to rest in C.

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.