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)
Emir Can İğrek - Uyanıp Kabusuma - Teoman - Chord
Key C major – A minor Chords Em, Am, Dm, F, Fm Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Am F Dm Em
x4
Am Fm Dm Em
Bitti denizler, tükendi hazlar
Am Fm Dm Em
Sustuk seninle hep bir ağızdan
Am Fm Dm Em Dm
Yazlık yerlerde hüzünler kısa sürer diyorlar
Em
Oysa hüzünler mevsim, bilmiyorlar
Am Em
Uyanıp kâbusuma gerçekleri döktüm denize
F Dm Em Am
Kader örmedi ağlarını, bizzat kurşun sıktı bize
x2
Am F Dm Em
x2
Am F Dm Em
Başka bi' yerde, başka bi' ağızda
Am F Dm Em
Karşılaştık biz bitmiş bir aşkla
Am F Dm Em Dm
Biraz bronzlaşmış, biraz yanmış yüzün güneşten
Em
Benimde kalbim yandı ama boş ver, geçti iş işten
Am Em
Uyanıp kâbusuma gerçekleri döktüm denize
F Dm Em Am
Kader örmedi ağlarını, bizzat kurşun sıktı bize
x2
End of song Play again?
Emir Can İğrek - Uyanıp Kabusuma - Teoman Tabs
NotesX
Harmony analysis
Emir Can İğrek – Uyanıp Kabusuma - Teoman: 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)
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 and Am is heard 12 times while C never appears. 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 | 12× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 14× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 7× |
| iv | Fm | Minor iv — borrowed from the parallel minorborrowed chord | F · Ab · C | 3× |
| V | G | Dominant — strongest pull home | G · B · D | — |
| vi | Am | Relative minor — the melancholy side | A · C · E | 12× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 12× |
| 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 | 12× |
| v | Em | Minor dominant — soft pull | E · G · B | 14× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 7× |
| vi | Fm | Chromatic colour chordoutside the key | F · Ab · C | 3× |
| 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 48 times in total; 4 of them sit naturally inside the shared scale. Fm is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Em Am Ciii → vi Amv → inatural-minor cadence ×10
The move to watch is Em → Am, heard 10 times. From the Am side it is v → i (natural-minor cadence: gentle, modal arrival); from the C side it reads iii → 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 Em, land on E, G, B — 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- On Fm, follow the chord's notes (F · Ab · C) rather than the key's scale — it's a borrowed colour.
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 Am lays a solid floor for everything that follows. Em, Am, Dm, F carry the song: iii–vi–ii–IV relative to C, v–i–iv–VI relative to Am. Fm briefly darkens the picture: minor iv — borrowed from the parallel minor. Keep an ear on Em → Am (iii → vi in C, v → i in Am): natural-minor cadence — gentle, modal arrival. The final chord is Am; the ear comes to rest in Am.
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.
Emir Can İğrek - Uyanıp Kabusuma - Teoman 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: Emir Can İğrekMusic: Emir Can İğrekArrangement: Yiğit Avcı
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