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)
Yüzyüzeyken Konuşuruz - Bırakma Kendini - Chord
Key C major – A minor Chords F, G, Em, Am Easy key G (capo 5)
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Key: C | Am
Capo: 0
Am G Am G Am G Am F Em
Am G Am G F G F G
F Em F
Bırakma kendini, hadi gel yasslan bana
Em F
Yanımda değğilsen, ne İstanbul ne Ankara
Em F
Dalgalara direndim, bilmem neye güvendim
G F
Bir damla su dökmem, tüm dünya alev alsa da
F G
Bilmem neye gücendin hadi gel anlat bana
Em Am
Değişmem gülüşşünü tüm dünya benim olsa da
F G
Her kimse seni üzüp üstüne ağlatırsa
Em Am
Bir damla su vermem çöllerde kavrulsa da
Am G Am G F G F G
F Em F Em
F Em F
Gösterme kendini, hadi gel saklan bana
Em F
Ben hiçbir yerdeyim, ne evde ne bankada
Em F
Hainlere direndim, pisliklere gülerdim
Em G F
Elinizden su içmem, ruhum tuza batsa da
F G F Em
F G
Bilmem neye gücendin hadi gel anlat bana
Em Am
Değişmem gülüşşünü tüm dünya benim olsa da
F G
Her kimse seni üzüp üstüne ağlatırsa
Em Am
Bir damla su vermem çöllerde kavrulsa da
End of song Play again?
Yüzyüzeyken Konuşuruz - Bırakma Kendini Tabs
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Harmony analysis
Yüzyüzeyken Konuşuruz – Bırakma Kendini: key and chord analysis
The song opens on Am and ends on Am. 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 A minor side because it both starts and finishes on Am and Am is heard 12 times while C never appears. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | — |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | — |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 15× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 23× |
| V | G | Dominant — strongest pull home | G · B · D | 18× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 12× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 12× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv | Dm | Subdominant — moves away from home | D · F · A | — |
| v | Em | Minor dominant — soft pull | E · G · B | 15× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 23× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 18× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 68 times in total; 4 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
- F G CIV → VIV → V AmVI → VIIVI → VII ×10
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×5
- Em Am Ciii → vi Amv → inatural-minor cadence ×5
The move to watch is F → G, heard 10 times. From the Am side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the C side it reads IV → V (IV → V: the lift that builds tension before home). 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 F, land on F, A, C — 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
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
Starting on Am, the song gives away its key from the very first bar. The chords that keep coming back are F, G, Em, Am; read them as IV–V–iii–vi in C or VI–VII–v–i in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → G (IV → V in C, VI → VII in Am): VI → VII — the rising step that heads for the tonic. Ending on Am, the song seals Am as home.
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.
Yüzyüzeyken Konuşuruz - Bırakma Kendini 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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Lyrics: Kaan BoşnakMusic: Kaan Boşnak
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