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)
Ufuk Beydemir - Naber - Chord
Key C major – A minor Chords C, G, Em, F, Am, D Difficulty already in its easiest key
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Key: C | Am
Capo: 0
C Em F G C Em F G Naber, gel gidelim buralardan C Em F G Söyle, kimler üzdüyse seni C Em F G Naber, aklında neler var C Em F G Boşver, işte yol bu tarafta Am C Ben anlatamam D G Sen beni anla Am C Ben dayanamam D G Sen beni kolla C Em F G C Em F G Naber, İçimde bir kurt var C Em F G Zorla sevdiremem ben kendimi C Em F G Naber C Em F G Naber Am C Ben anlatamam D G Sen beni anla Am C Ben dayanamam D G Sen beni kolla
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Ufuk Beydemir - Naber Tabs
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Harmony analysis
Ufuk Beydemir – Naber: key and chord analysis
The song opens on C and ends on G. Its chords belong to both C major and Am, so every chord below is read both ways.
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 C major side because it opens on C and C is heard 14 times against 4 for Am. That is an interpretation, not a rule — hearing the same chords from A minor is just as valid and teaches you something different.
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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | 14× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | — |
| V/V | D | Secondary dominant V/V — leads to Gsecondary dominant | D · F# · A | 4× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 10× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 10× |
| V | G | Dominant — strongest pull home | G · B · D | 14× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 4× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 4× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 14× |
| iv | Dm | Subdominant — moves away from home | D · F · A | — |
| IV | D | Major IV — Dorian / melodic-minor colourmodal colour | D · F# · A | 4× |
| v | Em | Minor dominant — soft pull | E · G · B | 10× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 10× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 14× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 56 times in total; 5 of them sit naturally inside the shared scale. D acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- F G CIV → VIV → V AmVI → VIIVI → VII ×10
- G C CV → Iauthentic cadence AmVII → III ×9
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×4
The move to watch is F → G, heard 10 times. From the C side it reads IV → V (IV → V: the lift that builds tension before home); from the Am side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 C, land on C, E, G — 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 Em, land on E, G, B — 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
The song is already written in its easiest key for guitar.
The song's harmonic story
The first chord is C; the ear learns where home is within a second. C, G, Em, F carry the song: I–V–iii–IV relative to C, III–VII–v–VI relative to Am. D adds a moment of surprise: secondary dominant V/V — leads to G. Keep an ear on F → G (IV → V in C, VI → VII in Am): IV → V — the lift that builds tension before home. It closes on G, letting the C 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.
Ufuk Beydemir - Naber 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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