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)
Ceylan Ertem - Çaresiz - Chord
Key C major – A minor Chords Am, Em, Dm, F, G Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Am Am Em Em
Am Em
Kalbine dokundukça ellerimi yaktığı
Am Em
Güllere uzandıkça dikenlere battığım
Am
Söyle nasıl hangi sözle bu kederi unutayım
Em Dm F Am
Şimdi nasıl bir nefesle bu kalbimi avutayım
Am
Ah adı yok sanı yok ki yalnızlığın
Em
İzahı yok dili yok hiç karanlığın
Am
Dermanı yok duru yok ah şanssızlığın
Em Am
Bir başı yok sonu yok bu haksızlığın
Am
Söyle nasıl hangi sözle bu kederi unutayım
Em Dm F Am
Şimdi nasıl bir nefesle bu kalbimi avutayım
Am
Ah adı yok sanı yok ki yalnızlığın
Em
İzahı yok dili yok hiç karanlığın
Am
Dermanı yok duru yok ah şanssızlığın
Em Am
Bir başı yok sonu yok bu haksızlığın
G Dm Em Am
Hep bir ağızdan tek nefesle söylüyorlar çare yok
G Dm Em Am
Durduğum yer sustuğum şey bildiğim başka yol yok
End of song Play again?
Ceylan Ertem - Çaresiz Tabs
NotesX
Harmony analysis
Ceylan Ertem – Çaresiz: 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 16 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 | 4× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 12× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| 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 | 16× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 16× |
| 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 | 4× |
| v | Em | Minor dominant — soft pull | E · G · B | 12× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| 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). 5 different chords appear 36 times in total; 5 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 ×9
- F Am CIV → vi AmVI → iVI → i ×2
The move to watch is Em → Am, heard 9 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 Dm, land on D, F, A — 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 backbone is Am, Em, Dm, F — vi–iii–ii–IV from the C side, i–v–iv–VI 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.
Ceylan Ertem - Çaresiz 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: Cem AdrianMusic: Cem AdrianArrangement: Adem Gülşen
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