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)
Birkan Nasuhoğlu - Papatyalar - Chord
Key C major – A minor Chords Em7, Dm7, Cmaj7, Am7 Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Am7 Cmaj7 Em7 Dm7
Cmaj7 Dm7
Bir yanım döner durur seni arar ama
Em7 Cmaj7
Yok elimde bana bizden kalan hatıra
Dm7
Kör kuyu alır atar içine dayanamam
Em7 Dm7
Bütün gücümle sarıldım aşktan asla korkmam
Em7 Dm7
Varsın gelsin üstüme travmalar
Em7 Am7 Cmaj7 Em7
Ürkütür kaçırır hepsini papatyalar
Dm7 Am7 Cmaj7 Em7
Ooo papatyalar
Dm7 Cmaj7
Ooo papatyalar
Cmaj7 Dm7
Geldi kondu avcuma ruhundaki peri
Em7 Cmaj7
Aklımı aldı güzel bir nakarat gibi
Dm7
Var desem hala içimde az biraz umut
Em7 Dm7
Beklerim camın önünde bana gülüşünü
Em7 Dm7
Varsın gelsin üstüme travmalar
Em7 Am7 Cmaj7 Em7
Ürkütür kaçırır hepsini papatyalar
Dm7 Am7 Cmaj7 Em7
Ooo papatyalar
Dm7 Cmaj7
Ooo papatyalar
End of song Play again?
Birkan Nasuhoğlu - Papatyalar Tabs
NotesX
Harmony analysis
Birkan Nasuhoğlu – Papatyalar: key and chord analysis
The song opens on Am7 and ends on Cmaj7. 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 comes to rest on C, it opens on Am and C is heard 11 times against 5 for Am. 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 | 11× |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 13× |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 13× |
| 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 | — |
| vi7 | Am7 | Relative minor — the melancholy side | A · C · E · G | 5× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Am7 | Tonic — home | A · C · E · G | 5× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| IIImaj7 | Cmaj7 | Relative major — the bright side | C · E · G · B | 11× |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 13× |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 13× |
| 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). 4 different chords appear 42 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 Am7 Cii7 → vi7 Amiv7 → i7minor plagal ×2
- Em7 Am7 Ciii7 → vi7 Amv7 → i7natural-minor cadence ×2
The move to watch is Dm7 → Am7, heard 2 times. From the C side it reads ii7 → vi7; from the Am side it is iv7 → i7 (minor plagal: deep and melancholic). 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 Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
- 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.
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 Am7 lays a solid floor for everything that follows. The backbone is Em7, Dm7, Cmaj7, Am7 — iii7–ii7–Imaj7–vi7 from the C side, v7–iv7–IIImaj7–i7 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 → Am7 (ii7 → vi7 in C, iv7 → i7 in Am): minor plagal — deep and melancholic. It closes on Cmaj7, 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.
Birkan Nasuhoğlu - Papatyalar 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: Birkan NasuhoğluMusic: Birkan NasuhoğluArrangement: Birkan Nasuhoğlu
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