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)
Key C major – A minor Chords Dm, Em Difficulty already in its easiest key
Dm Em Dm Em
Dm
Uçurumdan beni itseydim
Em
En azından sonu seçseydim
Dm Em
Belki de az geri gitseydim bulurdum seni
Dm Em
Bilemiyorum, düşsem mi, kalksam mı?
Dm
Ve ölemiyorum
Em
Gönül memnun mu, pişman mı?
Dm
Bittim ben, başlamayı da bilemedim
Em
Hem bedenim hem ruhum yorgun
Dm
Sana benzeyen hiç kimseyi göremedim
Em
İnsan mısın sen?
Dm Em Dm Em Dm Em Dm Em
Dm Em
Tutamıyorum seni, uzağıma savrulmasan mı?
Dm Em
Duyamıyorum, canım, daha yüksek çağırsan mı?
Dm Em
Yalnız geldim bu yaşıma dek, ama sensiz yaşlanmasam mı?
Dm Em
Aranıyorum, canım, sen önüme hiç çıkmasan mı?
Dm
Bittim ben, başlamayı da bilemedim
Em
Hem bedenim hem ruhum yorgun
Dm
Sana benzeyen hiç kimseyi göremedim
Em
İnsan mısın sen?
End of song Play again?
Harmony analysis
The song opens on Dm and ends on Em. Its chords belong to both C major and Am, so every chord below is read both ways.
Major view
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between C major and A minor. Try reading the chords both ways and see which feels more like home to you.
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 | 18× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 18× |
| III | E | Chromatic colour chordoutside the key | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | — |
| V | G | Dominant — strongest pull home | G · B · D | — |
| 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 | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv | Dm | Subdominant — moves away from home | D · F · A | 18× |
| v | Em | Minor dominant — soft pull | E · G · B | 18× |
| 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 | — |
The key pair is C major and its relative A minor (no sharps or flats). 2 different chords appear 36 times in total; 2 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
Empty slices are chords the song doesn't use.
The song is already written in its easiest key for guitar.
The first chord is Dm; the ear learns where home is within a second. The chords that keep coming back are Dm, Em; read them as ii–iii in C or iv–v in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Ending on Em, the song seals C 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.
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.
Ready-made lists by difficulty and mood.
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