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)
Key C major – A minor Chords Am, F, Em, F#m, D, E, A, Dm … Difficulty already in its easiest key
F#m D A
Güvenmek istedim kendime fırsatım vardı olmadı
D E F#m
Birazcık şahlansam yakıştırılmadı
E Am
Tatmin oldular
Am
Elden bir şey gelir mi
Kıymet bildiklerim gibi
Dm G
Benim de bilinir mi
C F Em F
Sen haklıydın her zaman, annem gibi
Am Em F
Haksızlığı da koydum bavula
Am Em
Yalnızlığı da aldım yanıma
F
Teşekkür ettim her şey adına
Am Em F Em
Gidiyorum gidiyorum ama bitmiyorum
End of song Play again?
Harmony analysis
The song opens on F#m and ends on Em. Its chords belong to both C major and Am, so every chord below is read both ways.
Major view
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
Which side does the ear lean to?
Our reading: to us the song feels closer to the A minor side because Am is heard 5 times against 1 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.
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× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 1× |
| V/V | D | Secondary dominant V/V — leads to Gsecondary dominant | D · F# · A | 2× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 5× |
| 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 | 5× |
| #iv | F#m | Chromatic colour chordoutside the key | F# · A · C# | 2× |
| V | G | Dominant — strongest pull home | G · B · D | 1× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 5× |
| V/ii | A | Secondary dominant V/ii — leads to Dmsecondary dominant | A · C# · E | 1× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 5× |
| V/iv | A | Secondary dominant V/iv — leads to Dmsecondary dominant | A · C# · E | 1× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 1× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 1× |
| IV | D | Major IV — Dorian / melodic-minor colourmodal colour | D · F# · A | 2× |
| v | Em | Minor dominant — soft pull | E · G · B | 5× |
| 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 | 5× |
| #vi | F#m | Chromatic colour chordoutside the key | F# · A · C# | 2× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 1× |
The key pair is C major and its relative A minor (no sharps or flats). 10 different chords appear 25 times in total; 6 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. D, A act as secondary dominants, briefly pointing at another chord of the key.
The move to watch is F → Am, heard 3 times. From the Am side it is VI → i (VI → i: falls a half step into home); from the C side it reads IV → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Empty slices are chords the song doesn't use.
The song is already written in its easiest key for guitar.
Starting on F#m, the song gives away its key from the very first bar. The backbone is Am, F, Em, F#m — vi–IV–iii–#iv from the C side, i–VI–v–#vi from the Am side. 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 F → Am (IV → vi in C, VI → i in Am): VI → i — falls a half step into home. It closes on Em, 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.
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.
Ready-made lists by difficulty and mood.
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