Deniz Seki - Helal Ettim Hakkımı (Serkan Seki) - Chord

Key C major – A minor Chords Dm, Am, E7, F, E, Bm7b5, G Difficulty already in its easiest key

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Capo 0

Dm  Dm  E  E  F  F  Bm7b5  E7  Am

Am
 Ben böyle değildim inan
Dm             E7
 Yaşadım hayatı kimse sormadan
Dm                  E
 Sana değil sözlerim inan kırgın değilim
F                    Bm7b5    E7         Am
 Bu tutarsız hallerim kendime olan kızgınlığımdan

             Dm
 Sen içini rahat tut
G              Am
 Sıkma sakın canını
Dm         Am
 Olan oldu, geçen geçti
E7          Am
 Helal ettim hakkımı

                      Dm
 Ben seni öyle sevdim, öyle sevdim
G                Am
 Görmedi gözlerim kendimden bile vazgeçtim
F                        Dm
 Benim olsun, sonum olsun ne olursa olsun dedin
E7                    Am
 Ben seni öyle sevdim, öyle sevdim

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Deniz Seki - Helal Ettim Hakkımı (Serkan Seki) Tabs

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Harmony analysis

Deniz Seki – Helal Ettim Hakkımı (Serkan Seki): key and chord analysis

The song opens on Dm 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 8 times while C never appears 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	—
ii	Dm	Supertonic — prepares the dominant	D · F · A	8×
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V7/vi	E7	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B · D	5×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	3×
IV	F	Subdominant — moves away from home	F · A · C	4×
V	G	Dominant — strongest pull home	G · B · D	2×
vi	Am	Relative minor — the melancholy side	A · C · E	8×
viiø7	Bm7b5	Leading-tone chord — tension	B · D · F · A	2×

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	8×
iiø7	Bm7b5	Supertonic — prepares the dominant	B · D · F · A	2×
III	C	Relative major — the bright side	C · E · G	—
iv	Dm	Subdominant — moves away from home	D · F · A	8×
v	Em	Minor dominant — soft pull	E · G · B	—
V7	E7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B · D	5×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	3×
VI	F	Submediant — warm colour	F · A · C	4×
VII	G	Subtonic — steps back to the tonic	G · B · D	2×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 32 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 E7 / E is V7/vi, a secondary dominant heading for Am.

Chord movement

E7 Am CV7/vi → visecondary resolution AmV7 → iharmonic-minor cadence ×4
G Am CV → videceptive cadence AmVII → iAeolian arrival ×2
Dm E Cii → V/vi Amiv → Viv → V ×2
Bm7b5 E7 Cviiø7 → V7/vi Amiiø7 → V7ii° → V ×2
Dm E7 Cii → V7/vi Amiv → V7iv → V ×2
Dm G Cii → Vii → V Amiv → VII ×2

The move to watch is E7 → Am, heard 4 times. From the Am side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the C side it reads V7/vi → vi (secondary resolution: E7 resolves a fourth up to 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 Dm, land on D, F, A — 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 E7, land on E, G#, B — 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

The song is already written in its easiest key for guitar.

The song's harmonic story

Starting on Dm, the song gives away its key from the very first bar. The chords that keep coming back are Dm, Am, E7, F; read them as ii–vi–V7/vi–IV in C or iv–i–V7–VI in Am. E7 is the interesting twist: in C it is a chromatic chord (V7/vi), while in Am it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on E7 → Am (V7/vi → vi in C, V7 → i in Am): harmonic-minor cadence — the major V resolves dramatically. It closes on Am, letting the Am side have the last word.

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.