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)
Nigar Muharrem - Gidene Sor - Chord
Key C major – A minor Chords Am, Fmaj7, Em7, G, F Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Am Fmaj7
Mutluluk iki dudak arasında
Em7 Fmaj7
Hayati satir satır yazasım var
Am Fmaj7
Bu şehrin karanlık yakasında
Em7 G
Umudu görmeden sarasım var
Am
Gidene sor seviyor mu
Fmaj7
Sonu yok biliyorum bu yolun
Am
Boş geliyordu
Fmaj7
Ben olmayan acılara dertlere gülüyorum
Em7
Söz gidiyorum
Bu kadar seviyorken seni hala
Am
Gel demiyorsun
Em7 F
Gülüşün bana cennet cennet oysa
Am
Mutluluk iki dudak arasında
Bana seçip seçip soruyordun arasından benim
Fmaj7
Sızlayan kalbimi arasınlar
Ama görünmez gönlümün ayazından
Em7
Hayati satir satır yazasım var
Bu şehrin karanlık yakasında
Am
Umudu görmeden sarasım var
Em7 Am
Gidenin bitmeyen acısıyla
Em7
Benden daha delisi var mı
G Fmaj7 G
Acısı bitse de ismi kaldı
Am
Güneş bana da doğar mı
Sana aydınlık yollar, bana karanlık
Fmaj7
Benden daha delisi var mı
Acısı bitse de ismi kaldı
Em7
Güneş bana da doğar mı
Fmaj7
Sana aydınlık yollar, bana karanlık
End of song Play again?
Nigar Muharrem - Gidene Sor Tabs
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Harmony analysis
Nigar Muharrem – Gidene Sor: key and chord analysis
The song opens on Am and ends on Fmaj7. 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 opens 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | — |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | — |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 8× |
| 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 | 9× |
| IV | F | Subdominant — moves away from home | F · A · C | 1× |
| V | G | Dominant — strongest pull home | G · B · D | 3× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 9× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 9× |
| 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 | — |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 8× |
| 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 | 9× |
| VI | F | Submediant — warm colour | F · A · C | 1× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 3× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 30 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
- Em7 Am Ciii7 → vi Amv7 → inatural-minor cadence ×3
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×2
- Fmaj7 Am CIVmaj7 → vi AmVImaj7 → iVI → i ×2
- F Am CIV → vi AmVI → iVI → i ×1
- Fmaj7 G CIVmaj7 → VIV → V AmVImaj7 → VIIVI → VII ×1
The move to watch is Em7 → Am, heard 3 times. From the Am side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the C side it reads iii7 → 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 Fmaj7, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over Em7, land on E, G, B — 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 first chord is Am; the ear learns where home is within a second. Am, Fmaj7, Em7, G carry the song: vi–IVmaj7–iii7–V relative to C, i–VImaj7–v7–VII relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em7 → Am (iii7 → vi in C, v7 → i in Am): natural-minor cadence — gentle, modal arrival. It closes on Fmaj7, 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.
Nigar Muharrem - Gidene Sor 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: Burak BulutMusic: Burak BulutArrangement: Rabil Seferli
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