Yaşar - Birtanem - Chord

Key C major – A minor Chords E7, Am, Dm, G, F Easy key G (capo 5)

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Capo 0

Am                             Dm          E7
Bir tanem seni görmeye görmeye görmeyi özledim
      Dm                        E7           Am
Çig tanem seni bos yere üzmüsüm sonradan anladim
                             Dm          E7
Bir tanem seni özleye özleye kalbimi avuttum
      Dm                       E7          Am
Çig tanem seni söyleye söyleye kendimi unuttum
 
      Dm    E7          Am   
Bir tanem beni sor beni bul  
      Dm    E7            Am 
Bir tanem gönül sana köle kul

                      G
Seni yar diye koynuma aldigimdan beri
F             E7
Korkardim gideceginden
      Am              G
Simdi yar nerede hani yar nerede diye
F                E7
Düser oldum pencerelerden

     Am               G
Seni yar diye koynuma aldigimdan beri
F             E7
Korkardim gideceginden
     Am              G
Sarkilar nerede hani çok severek hani
F             E7
Söylerdik incelerinden

            Am
Bu sebepten sen
               G                     
Gece gel ya da bu gece gel           
F                    E7              
Ya bu gece gel ya da bu gece gel     
Am                   G         
Ya bu gece gel ya da bu gece gel     
F                    E7              
Ya bu gece gel ya da gelir ecel ya bu

Am G F E7 Am G F E7
 
Am                               Dm          E7
Bir tanem gece lambalar yandi mi ask saklanmiyor
      Dm                                 E7           Am
Çig tanem bir zamanlar ah çaglayan gönül simdi damlamiyor
                                 Dm         E7
Bir tanem beni sevmeye sevilmeye sen alistirdin
      Dm                        E7         Am
Çig tanem simdi yerlere göklere sigmiyor askim

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Yaşar - Birtanem Tabs

NotesX

Harmony analysis

Yaşar – Birtanem: 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.

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)
#7 = G# (harmonic-minor leading tone from the V chord)

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, Am is heard 15 times while C never appears and the major V chord points straight at Am. 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	—
ii	Dm	Supertonic — prepares the dominant	D · F · A	10×
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V7/vi	E7	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B · D	18×
IV	F	Subdominant — moves away from home	F · A · C	8×
V	G	Dominant — strongest pull home	G · B · D	8×
vi	Am	Relative minor — the melancholy side	A · C · E	15×
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	15×
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	10×
v	Em	Minor dominant — soft pull	E · G · B	—
V7	E7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B · D	18×
VI	F	Submediant — warm colour	F · A · C	8×
VII	G	Subtonic — steps back to the tonic	G · B · D	8×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 59 times in total; 4 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E7 is V7/vi, a secondary dominant heading for Am.

Chord movement

E7 Am CV7/vi → visecondary resolution AmV7 → iharmonic-minor cadence ×14
Dm E7 Cii → V7/vi Amiv → V7iv → V ×10

The move to watch is E7 → Am, heard 14 times. From the Am side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the C side it reads V7/vi → vi (secondary resolution: E7 resolves a fourth up to Am). 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 E7, 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.
When E7 comes, swap the scale's G for G#: that single note is the harmonic-minor sound of the chord.

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

The first chord is Am; the ear learns where home is within a second. E7, Am, Dm, G carry the song: V7/vi–vi–ii–V relative to C, V7–i–iv–VII relative to Am. E7 is the interesting twist: in C it is a chromatic chord (V7/vi), while in Am it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on E7 → Am (V7/vi → vi in C, V7 → i in Am): harmonic-minor cadence — the major V resolves dramatically. 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.