Pera - Gizli Yara - Chord

Key C major – A minor Chords Am, Em, F, G, B7 Difficulty already in its easiest key

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Am  Em

Am                        Em
Sakladım yasakladım, kendime seni

Ve kurduğum tuzakların
 Am
İçinde ben varım, uzak olan yakınların
Em
Nefesi olursun bana her yaktığım sigaranın
Am                            Em
Sorsalar yalanlarım, hiç bilmesin seni

Sarhoş olan anlarım
Am
Zehirli bir balım, dilim dilsiz kalbim şair
Em
Deliyim ilkbahar gibi ben yerli yersiz ağlarım

F          G           Am
Zifirdir gece zehirdir yokluğun
Em                     F
Yokluğunla son bulur muyum
G                 B7
İyi oldu bak sorduğun

Am             F
Hasreti sardım koynuma yattım
Em               F
Sen diye uyudum, senle uyandım
Am             F
Aşkımı kalbime gömdüm usandım
Em            F              Am
Sakladım seni gizli yaramdın sen

End of song Play again?

Pera - Gizli Yara Tabs

NotesX

Harmony analysis

Pera – Gizli Yara: 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.

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)

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 9 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.

Seen from C major
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	8×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	6×
V	G	Dominant — strongest pull home	G · B · D	2×
vi	Am	Relative minor — the melancholy side	A · C · E	9×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—
V7/iii	B7	Secondary dominant V/iii — leads to Emsecondary dominant	B · D# · F# · A	1×

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	9×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
V7/v	B7	Secondary dominant V/v — leads to Emsecondary dominant	B · D# · F# · A	1×
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	8×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	6×
VII	G	Subtonic — steps back to the tonic	G · B · D	2×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 26 times in total; 4 of them sit naturally inside the shared scale. B7 acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Em Am Ciii → vi Amv → inatural-minor cadence ×4
F G CIV → VIV → V AmVI → VIIVI → VII ×2
F Am CIV → vi AmVI → iVI → i ×2
G Am CV → videceptive cadence AmVII → iAeolian arrival ×1

The move to watch is Em → Am, heard 4 times. From the Am side it is v → i (natural-minor cadence: gentle, modal arrival); from the C side it reads iii → vi. 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 Em, land on E, G, B — the chord's own tones always sound right on strong beats.
Over F, 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 Am lays a solid floor for everything that follows. The chords that keep coming back are Am, Em, F, G; read them as vi–iii–IV–V in C or i–v–VI–VII in Am. B7 adds a moment of surprise: secondary dominant V/iii — leads to Em. Keep an ear on Em → Am (iii → vi in C, v → i in Am): natural-minor cadence — gentle, modal arrival. It closes on Am, letting the Am 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.