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)
Ayça Özefe - Döneceksin Diye Söz Ver - Chord
Key C major – A minor Chords Dm, E, G, Am, F, C Difficulty already in its easiest key
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Key: C | Am
Capo: 0
C G Am
Güneşin ufka değdiği yer
Dm G
Oraya git ama yine gel
Dm F E
Döneceksin diye söz ver
C G Am
Böylesi hepsinden güzel
Dm G
Git özlet kendini yine gel
Dm F E
Döneceksin diye söz ver
Am E F E
Dinle uzaktan çalan şarkı hicazdan
Am E Dm G
Yaktık seninle biz bir yangını yeni baştan
Am E Dm E
Dinle uzaktan küllerin arasından
Am E Dm E
Madem her şey biter yine başlar yeni baştan
Am G C
Bana ne olur ellerini ver
Dm G
Gideceksin ama yine gel
Dm F E
Döneceksin diye söz ver
C G Am
Böylesi hepsinden güzel
Dm G
Git özlet kendini yine gel
Dm F E
Döneceksin diye söz ver
End of song Play again?
Ayça Özefe - Döneceksin Diye Söz Ver Tabs
NotesX
Harmony analysis
Ayça Özefe – Döneceksin Diye Söz Ver: key and chord analysis
The song opens on C and ends on E. 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 opens on C, Am is heard 8 times against 4 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 | 4× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 11× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | 11× |
| IV | F | Subdominant — moves away from home | F · A · C | 5× |
| V | G | Dominant — strongest pull home | G · B · D | 9× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 8× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 8× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 4× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 11× |
| 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 | 11× |
| VI | F | Submediant — warm colour | F · A · C | 5× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 9× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 48 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
- Dm G Cii → Vii → V Amiv → VII ×5
- E Am CV/vi → vi AmV → iharmonic-minor cadence ×4
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×4
- Dm E Cii → V/vi Amiv → Viv → V ×2
- G C CV → Iauthentic cadence AmVII → III ×1
The move to watch is Dm → G, heard 5 times. From the Am side it is iv → VII; from the C side it reads ii → V (ii → V: the classic preparation of the dominant). 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 E, land on E, G#, B — 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.
- 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
The first chord is C; the ear learns where home is within a second. Dm, E, G, Am carry the song: ii–V/vi–V–vi relative to C, iv–V–VII–i relative to 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 Dm → G (ii → V in C, iv → VII in Am): ii → V — the classic preparation of the dominant. Ending on E, the song seals C 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.
Ayça Özefe - Döneceksin Diye Söz Ver 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: Kutlu ÖzmakinacıMusic: Kutlu Özmakinacı
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