Sefo - Yarım Kalır (Revart) - Chord

Key C major – A minor Chords Dm, Am Difficulty already in its easiest key

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Capo 0

Dm  Dm  Am  Am

Dm
Pek karanlık değil hava ama

Ay beliriverdi yine tepemizde
Am
Ben dolanırım iki yaka arasında

Sen Akdeniz'de

Yarım kalır bu aşk
Dm
Kalbin imdadına yetiş

Yetiş ki can olsun yaşayacak
Am
Pes etmedim, değil yeniliş 

İlk defa, yarım kalır bu aşk

Dm
Saydı yerinde

Gidemedi daha bir adım ileri
          Am
Biliyorum art niyetinle değil

Ama bu da affedilir gibi değil (ya)
Dm
Bakmam ardıma, durmam giderken

Olduk bir olmadan yarım kalan
Am
Vade dolmadan aldın can

Oysa sendin beni seven, yüreğe koyan

Dm  Dm  Am  Am

Sürekli aynı döngü devam eder

Dm
Yarım kalanlardayım

Sorma nerdeyim, bi zindandayım
Am
Karmaşık bi zamandayım

Ellerindeyim, dardayım (of)

Dm
Kafamla ben uzaydayım

Ciddiye almayın lan alaydayım
      Am
Bu en karlı günüm ve zarardayım

Bu dünyanın içinde firardayım
Dm
Unutmuşum ben de

Olsun rahatım en derinde
       Am
Kimsin koşucam yollarında

Mevzun geçmez ortamımda
                Dm
Beni ya bana bi bırakın

Kafamı dağıttım

Zarımı attım, ben naptım
          Am
Hayalleri yaktım, ölümüne
                                    Dm
Lafı uzattım bile bile, ama yarım kalacak

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Sefo - Yarım Kalır (Revart) Tabs

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Harmony analysis

Sefo – Yarım Kalır (Revart): key and chord analysis

The song opens on Dm and ends on Dm. 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 Am is heard 12 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	13×
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	—
V	G	Dominant — strongest pull home	G · B · D	—
vi	Am	Relative minor — the melancholy side	A · C · E	12×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	12×
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	13×
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	—
VII	G	Subtonic — steps back to the tonic	G · B · D	—

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 2 different chords appear 25 times in total; 2 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

Dm Am Cii → vi Amiv → iminor plagal ×10

The move to watch is Dm → Am, heard 10 times. From the Am side it is iv → i (minor plagal: deep and melancholic); from the C side it reads ii → 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 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 Dm, the song gives away its key from the very first bar. The chords that keep coming back are Dm, Am; read them as ii–vi in C or iv–i in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → Am (ii → vi in C, iv → i in Am): minor plagal — deep and melancholic. The final chord is Dm; the ear comes to rest in C.

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.