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)
Sibel Can - Tamam O Zaman - Chord
Key C major – A minor Chords Am, Dm, G, E7, A, Em Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Am Am Am Dm G Am
Am
Bir insan böyle bakmaz ki
Günümde yıldızım sanki
Dm
Okursun aşkı gözlerinden
E7 Am
Geçip gitsem mi kalsam mı
Am
Ben asla böyle olmazdım
Hayatta parçalanmazdım
Dm
Güneşten sıcak gülüşlerden
E7 Am
Tutup öpsem de yansam mı
Am
İnan bıktım hayallerden
A Dm
Gönül kurtulsa çöllerden
G Dm
Sesinle hayata döndürsen
G Em
Senin hazzın bana farzdır
Am
Bir an olsun bizim olsun
A Dm
Bir tek elimi tut ne olur
G Dm
Bil ki çoktan kabullendim
G Em
Senin arzun benim yazgım
Am Dm Am
Tamam o zaman, ayrılalım
Dm G Am
İmkansızı sevip sevip ağlayalım
Dm Am
Peki o zaman, anlaşalım
Dm G Am
Gözden gizli gizli gönülden aşığınım
End of song Play again?
Sibel Can - Tamam O Zaman Tabs
NotesX
Harmony analysis
Sibel Can – Tamam O Zaman: key and chord analysis
The song opens on Am and ends on Am. 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 both starts and finishes on Am, Am is heard 15 times while C never appears 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 | — |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 11× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 2× |
| V7/vi | E7 | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B · D | 2× |
| IV | F | Subdominant — moves away from home | F · A · C | — |
| V | G | Dominant — strongest pull home | G · B · D | 7× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 15× |
| V/ii | A | Secondary dominant V/ii — leads to Dmsecondary dominant | A · C# · E | 2× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 15× |
| V/iv | A | Secondary dominant V/iv — leads to Dmsecondary dominant | A · C# · E | 2× |
| 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 | 11× |
| v | Em | Minor dominant — soft pull | E · G · B | 2× |
| V7 | E7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B · D | 2× |
| VI | F | Submediant — warm colour | F · A · C | — |
| 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). 6 different chords appear 39 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. A acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Dm G Cii → Vii → V Amiv → VII ×7
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×3
- E7 Am CV7/vi → visecondary resolution AmV7 → iharmonic-minor cadence ×2
- Dm Am Cii → vi Amiv → iminor plagal ×2
- Dm E7 Cii → V7/vi Amiv → V7iv → V ×2
- Em Am Ciii → vi Amv → inatural-minor cadence ×2
The move to watch is Dm → G, heard 7 times. From the Am side it is iv → VII; from the C side it reads ii → V (ii → V: the classic preparation of the dominant). 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 Dm, land on D, F, A — 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.
- 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
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. The chords that keep coming back are Am, Dm, G, E7; read them as vi–ii–V–V7/vi in C or i–iv–VII–V7 in 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 Dm → G (ii → V in C, iv → VII in Am): ii → V — the classic preparation of the dominant. Ending on Am, the song seals Am as home.
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.
Sibel Can - Tamam O Zaman 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: İsra GülümserMusic: Ayman Bahdat Amar & Tamer AliArrangement: Mustafa Ceceli
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