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)
Evdeki Saat - Kalkmam Gerek - Chord
Key C major – A minor Chords Dm, Am, Fmaj7, Bm, C, G, Em Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Am Dm Am Dm
Yapma ruhum yaktı bizi ne yaptıysan
Fmaj7 Em Dm Em
Yabancıydın gözlerime bakarken
Am G Am Dm
Affet beni ben de canını yaktıysam
Fmaj7 Em Dm
Sarhoş oldum nefsimi yudumlarken
Am Dm
Cayır cayır yanan güneş
Am Dm
Isıtmıyor beni
Am Dm
Ah oluk oluk akan sular
Am Dm
Söndürmüyor alevleri
Am Bm
Usul usul duran toprak
C Dm
Doyurmuyor yine
Am Bm
Efil efil esen rüzgar
C Dm
Körüklüyor ateşleri
Am Bm C
Daha ne olacak başıma ne gelecek
Dm Dm
Ve düştüm tamam şimdi kalkmam gerek
Am Bm C
Daha ne olacak başıma ne gelecek
Dm Dm
Ve düştüm tamam şimdi kalkmam gerek
Am Bm C
Daha ne olacak başıma ne gelecek
Dm Dm
Ve düştüm tamam şimdi kalkmam gerek
Am Bm C
Daha ne olacak başıma ne gelecek
Dm Am G Dm Fmaj7 Am G Dm Fmaj7
Ve düştüm tamam şimdi kalkmam gerek
Am G Dm Fmaj7 Am G Dm Fmaj7
End of song Play again?
Evdeki Saat - Kalkmam Gerek Tabs
NotesX
Harmony analysis
Evdeki Saat – Kalkmam Gerek: 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 18 times against 6 for C. 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 | 6× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 22× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 3× |
| 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 | 6× |
| V | G | Dominant — strongest pull home | G · B · D | 5× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 18× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| vii | Bm | Chromatic colour chordoutside the key | B · D · F# | 6× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 18× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| ii | Bm | Chromatic colour chordoutside the key | B · D · F# | 6× |
| III | C | Relative major — the bright side | C · E · G | 6× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 22× |
| v | Em | Minor dominant — soft pull | E · G · B | 3× |
| 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 | 6× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 5× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 66 times in total; 6 of them sit naturally inside the shared scale. Bm step outside the scale as colour chords.
Chord movement
- Dm Am Cii → vi Amiv → iminor plagal ×12
- Fmaj7 Am CIVmaj7 → vi AmVImaj7 → iVI → i ×3
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×1
- Em Am Ciii → vi Amv → inatural-minor cadence ×1
The move to watch is Dm → Am, heard 12 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.
- Over Fmaj7, land on F, A, C — 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 Am, the song gives away its key from the very first bar. Dm, Am, Fmaj7, Bm carry the song: ii–vi–IVmaj7–vii relative to C, iv–i–VImaj7–ii relative to 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. 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.
Evdeki Saat - Kalkmam Gerek 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: Eren AlıcıMusic: Eren AlıcıArrangement: Eren Alıcı - Yüce Akın
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