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)
Ebru Yaşar - Yalan (Akustik) - Chord
Key C major – A minor Chords Em7, Dm7, Fmaj7, Am7, F, G, C Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Em7 Dm7 F G Em7
Em7 Dm7
Geri gelmiyor giden günlerim
Em7 Dm7
Boşa ağlamak ümitlerle avunmak
Am7 Em7 Dm7
Çözüm değil bir vefasız için ömrüne kıymak
Em7
Uğruna kul olmak
Am7 Em7 Fmaj7 Em7
Yalan, yalan, yalan, yalan unuttum seni
Fmaj7 Em7
Yalan uykusuz geceler yalan çektiğim çileler
Dm7 Em7
Yalan kurduğum hayaller yalan unuttum seni
Am7 Em7
Yalan uykusuz geceler yalan çektiğim çileler
Fmaj7 Em7
Yalan kurduğum hayaller yalan unuttum seni
Fmaj7 Em7
Yalan ölümsüz sevgiler yalan ağlayan gözler
Dm7 C Dm7 Em7
Yalan söylediğim sözler yalan unuttum seni
End of song Play again?
Ebru Yaşar - Yalan (Akustik) Tabs
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Harmony analysis
Ebru Yaşar – Yalan (Akustik): key and chord analysis
The song opens on Em7 and ends on Em7. 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 Am is heard 3 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | 1× |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 7× |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 14× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IVmaj7 | Fmaj7 | Subdominant — moves away from home | F · A · C · E | 4× |
| IV | F | Subdominant — moves away from home | F · A · C | 1× |
| V | G | Dominant — strongest pull home | G · B · D | 1× |
| vi7 | Am7 | Relative minor — the melancholy side | A · C · E · G | 3× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Am7 | Tonic — home | A · C · E · G | 3× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 1× |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 7× |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 14× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VImaj7 | Fmaj7 | Submediant — warm colour | F · A · C · E | 4× |
| VI | F | Submediant — warm colour | F · A · C | 1× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 1× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 31 times in total; 7 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
- Em7 Am7 Ciii7 → vi7 Amv7 → i7natural-minor cadence ×2
- Dm7 Am7 Cii7 → vi7 Amiv7 → i7minor plagal ×1
- F G CIV → VIV → V AmVI → VIIVI → VII ×1
The move to watch is Em7 → Am7, heard 2 times. From the Am side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the C side it reads iii7 → vi7. 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 Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Fmaj7, land on F, A, C — 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 opening Em7 lays a solid floor for everything that follows. Em7, Dm7, Fmaj7, Am7 carry the song: iii7–ii7–IVmaj7–vi7 relative to C, v7–iv7–VImaj7–i7 relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em7 → Am7 (iii7 → vi7 in C, v7 → i7 in Am): natural-minor cadence — gentle, modal arrival. The final chord is Em7; 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.
Ebru Yaşar - Yalan (Akustik) 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: Ufuk ŞenpireMusic: Ufuk Şenpire
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