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 F, Am, Dm, G, C, Bm7b5 Easy key G (capo 5)
Am F Am F Am F Am F
Am F
Onu da yapsan olmaz, bunu da yapsan olmaz
Am F
Hergün çabalarsın ama uğraşmaya değmez
Am F
Adalet mi kalmış dünyada be kardeş
Am F
Onu da yapsan olmaz bunu da yapsan olmaz
Am F
İfade özgürlüğü özgürlük ifadesi
Am F
Açlıktan ölüyolar oğlum yok mu bi çaresi
Am F
Onu da yapsan olmaz bunu da yapsan olmaz
Am F
Evrim teorisi mi, yoksa devrim mi kardeş
Am F
Fırsat eşekliği eşeklerin fırsatı
Am F
Dalai Lama'ya sorsak ya neymiş bunun fıtratı
Am F
Onu da yapsan olmaz bunu da yapsan olmaz
Am F
Cenneti bilmem ama cehennem buradır kardeş
Dm G
En büyük alamet insana ihanet
C Bm7b5 F
Dünya dönüyo paran varsa şayet
Dm G
Aynı nefret hep aynı vahşet
C Bm7b5 F
Nerden kopucaksa kopsun kıyamet
Dm G C F
E olmadı ya olmadı yarabbim
Dm G C F
E kopmadı ya kopmadı yarabbim
Dm G C
Şu kıyamet
Am F
Onu da yapsan olmaz bunu da yapsan olmaz
Am F
Mazlum piramidinin tavanına yine yetmez
Am F
Cehalet mi dersin bilmem ne ekersin
Am F
Ama onu da yapsan olmaz bunu da yapsan olmaz
Am F
Kuzuların sessizliği, sessizliğin kuzuları
Am F
Melemekten aciz mi bu ovanın koyunları
Am F
Onu da yapsan olmaz bunu da yapsan olmaz
Am F
Pavlov'un köpekleri bile havlıyo akşamları
Dm G
En büyük alamet insana ihanet
C Bm7b5 F
Dünya dönüyo paran varsa şayet
Dm G
Aynı nefret hep aynı vahşet
C Bm7b5 F
Nerden kopucaksa kopsun kıyamet
Dm G C F
E olmadı ya olmadı yarabbim
Dm G C F
E kopmadı ya kopmadı yarabbim
Dm G C
Şu kıyamet
End of song Play again?
Harmony analysis
The song opens on Am and ends on C. 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: we can't honestly pick a side here — the song moves freely between C major and A minor because it comes to rest on C, it opens on Am and Am is heard 24 times against 10 for C. Try reading the chords both ways and see which feels more like home to you.
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 | 10× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 10× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 32× |
| V | G | Dominant — strongest pull home | G · B · D | 10× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 24× |
| viiø7 | Bm7b5 | Leading-tone chord — tension | B · D · F · A | 4× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 24× |
| iiø7 | Bm7b5 | Supertonic — prepares the dominant | B · D · F · A | 4× |
| III | C | Relative major — the bright side | C · E · G | 10× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 10× |
| 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 | — |
| VI | F | Submediant — warm colour | F · A · C | 32× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 10× |
The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 90 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.
The move to watch is F → Am, heard 22 times. From the C side it reads IV → vi; from the Am side it is VI → i (VI → i: falls a half step into home). 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 first chord is Am; the ear learns where home is within a second. F, Am, Dm, G carry the song: IV–vi–ii–V relative to C, VI–i–iv–VII relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → Am (IV → vi in C, VI → i in Am): VI → i — falls a half step into home. Ending on C, 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.
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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