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)
Mavi Gri - Sarmaşık Yollar - Chord
Key C major – A minor Chords Am, G, Dm, C, F, E Easy key G (capo 5)
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Key: C | Am
Capo: 0
Am Dm G C
Am Dm G C Am
Sen derinlerimde yüzen küçük bir balıktın
Dm G C Am
Okyanuslara alışmış bende afallamıştın
Dm G C Am
Oysa hayat çok kısaydı ama uzun yarıştı
Dm G C Am
İkimiz için değer sanmıştık, yanılmıştık
Am Dm G C
Am Dm G C Am
Kendimle savaşlarımı acı sonuçlarımla yatıştırdım
Dm G C Am
Zihnimin kirli sularında karıştım, karmaşıktım
Dm G C Am
Tanıdığım kıskanç bakışlar arasında uçurum güzelliğin
Dm G C Am
Uykudan kısılmış gözlerin yarım kalmış cümlelerim
F Dm Am G F
Bir sarılsan yeterdi derdimi anlatmaya
Dm Am G F
Bu dünya hep mi derdim, böyle
Dm Am G F
Kaybolunca değerli her şey anladım
Dm Am G
Eldeyken göremiyoorsun
F Dm Am G
Am
Bu uzun yollar
G G Am
Dopdolu kalbim
F
Aşılmaz dağlar
E
Yarattık kendimize
Hep kendimize
Am
Tüm yalan sözler
G
Kan revan halim
F
Artık geri dönülmez
E Am
Sarmaşık yollaaar
End of song Play again?
Mavi Gri - Sarmaşık Yollar Tabs
final solo
E-----------------------|-----3---|
B-----5-6-5---------5---|-------2-|
G-7-7-------7-5---5---5-|---4-----|
D---------------7-------|-5-------|
A-----------------------|---------|
E-----------------------|---------|
-------------X4------------------
E---------------|
B-----5-6-5-----|
G-7-7-------7-5-|
D---------------|
A---------------|
E---------------|
E---------------------------|
B---------------------------|
G---------------------------|
D---------------------------|
A-3-2-3-5-3-5-7-5-7-8-7-5-3-|
E---------------------------|
NotesX
Harmony analysis
Mavi Gri – Sarmaşık Yollar: 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)
- #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 both starts and finishes on Am, Am is heard 21 times against 10 for C 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | 10× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 15× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | 2× |
| IV | F | Subdominant — moves away from home | F · A · C | 7× |
| V | G | Dominant — strongest pull home | G · B · D | 18× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 21× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 21× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 10× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 15× |
| 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 | 2× |
| VI | F | Submediant — warm colour | F · A · C | 7× |
| 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). 6 different chords appear 73 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 E is V/vi, a secondary dominant heading for Am.
Chord movement
- G C CV → Iauthentic cadence AmVII → III ×10
- Dm G Cii → Vii → V Amiv → VII ×10
- Dm Am Cii → vi Amiv → iminor plagal ×5
- E Am CV/vi → vi AmV → iharmonic-minor cadence ×2
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×2
The move to watch is G → C, heard 10 times. From the Am side it is VII → III; from the C side it reads V → I (authentic cadence: the strongest arrival 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 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.
- 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
- 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. The chords that keep coming back are Am, G, Dm, C; read them as vi–V–ii–I in C or i–VII–iv–III in Am. E is the interesting twist: in C it is a chromatic chord (V/vi), while in Am it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on G → C (V → I in C, VII → III in Am): authentic cadence — the strongest arrival home. The final chord is Am; the ear comes to rest in Am.
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.
Mavi Gri - Sarmaşık Yollar 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: Akif AlkanMusic: Akif Alkan
Yusuf Kurtucu
Yusuf Kurtucu
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