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)
Sedef Sebüktekin - Uyu - Chord
Key C major – A minor Chords Am, C, Fmaj7, E7, Dm Easy key G (capo 5)
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Key: C | Am
Capo: 0
Am C Fmaj7 Am E7
Am C Fmaj7 Am Dm
Am C Fmaj7 E7
Kendimi kırdım bile bile karanlığımda
Am C Fmaj7 E7
En keskin uçlarıyla kalbime saplandı varlığım
Am C
Sabah çarpar yüze yalnızlığını
Fmaj7 Dm
Aslında hep kendinden kaçtığını
Am
Dur bitirme cümleni
C Fmaj7
Yapmadık üstümüze düşenleri
E7
Anlat ruhum yorgunluğunu
Am
Sen bekleme sar kendini
C Fmaj7
Farkında vardığında herşeyi
E7
Anlat ruhum, yorgunluğunu
Am C Fmaj7 E7
Uyu, uyu, uyu
Am C Fmaj7 E7
Uyu, uyu, uyu
Am C Fmaj7 E7
Durduğum yerin ötesinde arardım derdimi
Am C Fmaj7 E7
Sınırlarımı çizmediğimde kandırdım kendimi
End of song Play again?
Sedef Sebüktekin - Uyu Tabs
NotesX
Harmony analysis
Sedef Sebüktekin – Uyu: key and chord analysis
The song opens on Am and ends on E7. 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)
- #7 = G# (harmonic-minor leading tone from the V chord)
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, Am is heard 13 times against 11 for C and the major V chord points straight at Am. 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 | 11× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 2× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V7/vi | E7 | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B · D | 9× |
| IVmaj7 | Fmaj7 | Subdominant — moves away from home | F · A · C · E | 11× |
| V | G | Dominant — strongest pull home | G · B · D | — |
| vi | Am | Relative minor — the melancholy side | A · C · E | 13× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 13× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 11× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 2× |
| v | Em | Minor dominant — soft pull | E · G · B | — |
| V7 | E7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B · D | 9× |
| VImaj7 | Fmaj7 | Submediant — warm colour | F · A · C · E | 11× |
| 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). 5 different chords appear 46 times in total; 4 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E7 is V7/vi, a secondary dominant heading for Am.
Chord movement
- E7 Am CV7/vi → visecondary resolution AmV7 → iharmonic-minor cadence ×8
- Dm Am Cii → vi Amiv → iminor plagal ×2
- Fmaj7 Am CIVmaj7 → vi AmVImaj7 → iVI → i ×2
The move to watch is E7 → Am, heard 8 times. From the Am side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the C side it reads V7/vi → vi (secondary resolution: E7 resolves a fourth up to Am). 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 C, land on C, E, G — 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.
- When E7 comes, swap the scale's G for G#: that single note is the harmonic-minor sound of the chord.
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
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
Starting on Am, the song gives away its key from the very first bar. Am, C, Fmaj7, E7 carry the song: vi–I–IVmaj7–V7/vi relative to C, i–III–VImaj7–V7 relative to Am. E7 is the interesting twist: in C it is a chromatic chord (V7/vi), while in Am it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on E7 → Am (V7/vi → vi in C, V7 → i in Am): harmonic-minor cadence — the major V resolves dramatically. It closes on E7, 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.
Sedef Sebüktekin - Uyu 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: Sedef SebüktekinMusic: Sedef SebüktekinArrangement: Tolga Özdemir
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