Kıraç - Zaman - Chord

Key C major – A minor Chords Em, F, C, Am, G, D, A Difficulty already in its easiest key

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Capo 0

Em                  C          Em
Zaman akıp gidiyor dur demek olmaz
Am          G      F          Em
Sarılıp da geçmişe avunmak olmaz
Am           G       F            Em
Ne sen kalırsın ne de ben bu dünyada
Am        C    F            Em
Umudun kaybedip pes etmek olmaz
Em        C    F            Em
Umudun kaybedip pes etmek olmaz
 
Em                        D          Em   G    D    Em
Bir kez olsun çevir yüzün bak şu toprağa, bak şu toprağa
               D    A    C          Em
Her gün bir çiçek açıyor diyor merhaba
Am         G        F          Em
Bütün geceler mecbur varır sabaha
Am        C    F            Em
Umudun kaybedip pes etmek olmaz
Em        C    F            Em
Umudun kaybedip pes etmek olmaz
 
Em              C          Em  C         Em
Gönül isterdi ki hep iyi olsun çok iyi olsun
Am        G       F              Em
Bütün acılar bitip her an hoş olsun
Am        G    F         Em
Ama ne yaparsın insanoğlusun
Am       C   F            Em
Acı olmayınca tatlı da olmaz
Em      C    F            Em
Acı olmayınca tatlı da olmaz

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Kıraç - Zaman Tabs

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Harmony analysis

Kıraç – Zaman: key and chord analysis

The song opens on Em and ends on Em. 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 C major side because C is heard 10 times against 8 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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	10×
ii	Dm	Supertonic — prepares the dominant	D · F · A	—
V/V	D	Secondary dominant V/V — leads to Gsecondary dominant	D · F# · A	3×
iii	Em	Mediant — a tonic-family shade	E · G · B	23×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	11×
V	G	Dominant — strongest pull home	G · B · D	6×
vi	Am	Relative minor — the melancholy side	A · C · E	8×
V/ii	A	Secondary dominant V/ii — leads to Dmsecondary dominant	A · C# · E	1×
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	8×
V/iv	A	Secondary dominant V/iv — leads to Dmsecondary dominant	A · C# · E	1×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	10×
iv	Dm	Subdominant — moves away from home	D · F · A	—
IV	D	Major IV — Dorian / melodic-minor colourmodal colour	D · F# · A	3×
v	Em	Minor dominant — soft pull	E · G · B	23×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	11×
VII	G	Subtonic — steps back to the tonic	G · B · D	6×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 62 times in total; 5 of them sit naturally inside the shared scale. D, A act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

Em Am Ciii → vi Amv → inatural-minor cadence ×8

The move to watch is Em → Am, heard 8 times. From the C side it reads iii → vi; from the Am side it is v → i (natural-minor cadence: gentle, modal arrival). 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 C, 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 Em lays a solid floor for everything that follows. The backbone is Em, F, C, Am — iii–IV–I–vi from the C side, v–VI–III–i from the Am side. D adds a moment of surprise: secondary dominant V/V — leads to G. Keep an ear on Em → Am (iii → vi in C, v → i in Am): natural-minor cadence — gentle, modal arrival. 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.