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)
Multitap - Arka Koltuk - Chord
Key C major – A minor Chords Dm7, Cmaj7, G, Fmaj7 Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Cmaj7
Sallanıyor bulutlar gökyüzünün sonsuzluğunda
Cmaj7 Dm7 G
Her şeye kendince bir anlam yüklersin
Cmaj7 Dm7 G
Hayat zora gelince budur onunla başa çıkma yöntemin
Dm7 G
Varmıyorsa hiçbir yere gayretin
Dm7 G
Duraklar da yolculuğun keyfidir
Dm7 G
Detaylarda gizlenen güzellikleri
Dm7 G
Senin gördüğün gibi kim göre bilir
Cmaj7
Arka koltuğun camından
Dm7
Akıyor hayat yanından
Cmaj7 Cmaj7 Dm7 Dm7
Fmaj7
Gözlerinle uzanıp
G Cmaj7
Dinlenirsin uzaklarımda
Cmaj7
Arka koltuğun camından
Dm7
Akıyor hayat yanından
End of song Play again?
Multitap - Arka Koltuk Tabs
NotesX
Harmony analysis
Multitap – Arka Koltuk: key and chord analysis
The song opens on Cmaj7 and ends on Dm7. 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 C major side because it opens on C and C is heard 8 times while Am never appears. That is an interpretation, not a rule — hearing the same chords from A minor is just as valid and teaches you something different.
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 |
|---|---|---|---|---|
| Imaj7 | Cmaj7 | Tonic — home | C · E · G · B | 8× |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 10× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| III | E | Chromatic colour chordoutside the key | E · G# · B | — |
| IVmaj7 | Fmaj7 | Subdominant — moves away from home | F · A · C · E | 1× |
| V | G | Dominant — strongest pull home | G · B · D | 7× |
| vi | Am | Relative minor — the melancholy side | A · C · E | — |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | — |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| IIImaj7 | Cmaj7 | Relative major — the bright side | C · E · G · B | 8× |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 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 | — |
| VImaj7 | Fmaj7 | Submediant — warm colour | F · A · C · E | 1× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 7× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 26 times in total; 4 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
- Dm7 G Cii7 → Vii → V Amiv7 → VII ×6
- G Cmaj7 CV → Imaj7authentic cadence AmVII → IIImaj7 ×3
- Fmaj7 G CIVmaj7 → VIV → V AmVImaj7 → VIIVI → VII ×1
The move to watch is Dm7 → G, heard 6 times. From the C side it reads ii7 → V (ii → V: the classic preparation of the dominant); from the Am side it is iv7 → VII. 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 Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Cmaj7, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, D — 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 Cmaj7 lays a solid floor for everything that follows. The backbone is Dm7, Cmaj7, G, Fmaj7 — ii7–Imaj7–V–IVmaj7 from the C side, iv7–IIImaj7–VII–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 Dm7 → G (ii7 → V in C, iv7 → VII in Am): ii → V — the classic preparation of the dominant. The final chord is Dm7; 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.
Multitap - Arka Koltuk 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: Selim Siyami SümerMusic: Selim Siyami SümerArrangement: Multitap
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