Kıraç - Yıllar Sonra - Chord

Key C major – A minor Chords Em, F, Bb, A, Am, C, D, G Easy key G (capo 5)

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Capo 0

        Em           Am        Em 
Yıllar sonra da bir hazan sabahında 
     F         C        F   Bb      A 
Sessizce uyanırsam yüreğimde olacaksın
        Em       Am         Em 
İşte o an nerelerden duyacaksın 
            F            C        F   Bb       A 
Vakit çok geç bitmiş olacak beni nerden bulacaksın
  
Em            D       Bb                A 
Bir defa kaybedersem, belki bir daha bulamam 
Em              D     Bb               A 
Seni şimdi istiyorum, yıllar sonra duyamam
  
                  Am  F               Em 
Nerdesin sen sabahım en yürekten dualarım 
G                 F    Bb               A                    
Biliyorum doğacaksın umudusun sen bahtımın 
               Am   F                   Em 
Ortasında kalbimin bir yer açtım senin için 
G                   F    Bb             A 
İstersen sonsuza kadar gelme yine ben beklerim

End of song Play again?

Kıraç - Yıllar Sonra Tabs

NotesX

Harmony analysis

Kıraç – Yıllar Sonra: key and chord analysis

The song opens on Em and ends on A. Its chords belong to both C major and Am, so every chord below is read both ways.

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)

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 Am is heard 4 times against 2 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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	2×
ii	Dm	Supertonic — prepares the dominant	D · F · A	—
V/V	D	Secondary dominant V/V — leads to Gsecondary dominant	D · F# · A	2×
iii	Em	Mediant — a tonic-family shade	E · G · B	8×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	8×
V	G	Dominant — strongest pull home	G · B · D	2×
vi	Am	Relative minor — the melancholy side	A · C · E	4×
V/ii	A	Secondary dominant V/ii — leads to Dmsecondary dominant	A · C# · E	6×
bVII	Bb	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	Bb · D · F	6×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	4×
V/iv	A	Secondary dominant V/iv — leads to Dmsecondary dominant	A · C# · E	6×
bII	Bb	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Bb · D · F	6×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	2×
iv	Dm	Subdominant — moves away from home	D · F · A	—
IV	D	Major IV — Dorian / melodic-minor colourmodal colour	D · F# · A	2×
v	Em	Minor dominant — soft pull	E · G · B	8×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	8×
VII	G	Subtonic — steps back to the tonic	G · B · D	2×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 8 different chords appear 38 times in total; 5 of them sit naturally inside the shared scale. A, D act as secondary dominants, briefly pointing at another chord of the key. Bb is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

F C CIV → Iplagal cadence AmVI → III ×2
Em Am Ciii → vi Amv → inatural-minor cadence ×2

The move to watch is F → C, heard 2 times. From the Am side it is VI → III; from the C side it reads IV → I (plagal cadence: the soft 'amen' ending). 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 F, land on F, A, C — the chord's own tones always sound right on strong beats.
Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
On Bb, follow the chord's notes (Bb · D · F) 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

5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

Starting on Em, the song gives away its key from the very first bar. The chords that keep coming back are Em, F, Bb, A; read them as iii–IV–bVII–V/ii in C or v–VI–bII–V/iv in Am. A adds a moment of surprise: secondary dominant V/ii — leads to Dm. Keep an ear on F → C (IV → I in C, VI → III in Am): plagal cadence — the soft 'amen' ending. The final chord is A; the ear comes to rest in C.

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.