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)
Toygar Işıklı - Bırak Sende Kaybolayım - Chord
Key C major – A minor Chords Em, Dm, Am, Fmaj7, G, F Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Am Em Dm Em Em Dm Aşk serseri bir kuş, bazen istesen de tutamazsın Em Fmaj7 Em Aç kanatlarını bırak korkuların orada kalsın Dm Biz seninle sonsuz olalım Am Em Her sabah yanında uyansam Am Em Gözlerinde yakamoz olsam Dm Em Ömrümü ömrüne doladım Fmaj7 Em Dm Bırak sende kaybolayım Am G F Em Bu masalda mutluluk var, inanırsan var olurlar Dm Em Tutun bana ne olur korkma Am G F Em Bu masalda mutlu son var, sende benim yarınım var Dm Em Am İnan bana ne olur korkma
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Toygar Işıklı - Bırak Sende Kaybolayım Tabs
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Harmony analysis
Toygar Işıklı – Bırak Sende Kaybolayım: 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)
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 6 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | — |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 7× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 13× |
| 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 | 2× |
| IV | F | Subdominant — moves away from home | F · A · C | 2× |
| V | G | Dominant — strongest pull home | G · B · D | 2× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 6× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 6× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv | Dm | Subdominant — moves away from home | D · F · A | 7× |
| v | Em | Minor dominant — soft pull | E · G · B | 13× |
| 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 | 2× |
| VI | F | Submediant — warm colour | F · A · C | 2× |
| 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). 6 different chords appear 32 times in total; 6 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
- Em Am Ciii → vi Amv → inatural-minor cadence ×3
- Dm Am Cii → vi Amiv → iminor plagal ×2
The move to watch is Em → Am, heard 3 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 Em, land on E, G, B — 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.
- Over Am, land on A, C, E — 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
Starting on Am, the song gives away its key from the very first bar. The backbone is Em, Dm, Am, Fmaj7 — iii–ii–vi–IVmaj7 from the C side, v–iv–i–VImaj7 from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em → Am (iii → vi in C, v → i in Am): natural-minor cadence — gentle, modal arrival. Ending on Am, the song seals Am 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.
Toygar Işıklı - Bırak Sende Kaybolayım 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: Sema ErgenakonMusic: Toygar Işıklı
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