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)
Düş Sokağı Sakinleri - Ölümler Çıplak Gelir - Chord
Key C major – A minor Chords Em, Am, G, F, C, Dm Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Em Am
Ölümler çıplak gelir, geceyi indirir yavaşça gözlerine
Em F Dm G F Em
Benden geçmek kolay değil, feryat eder ateş sözlerime
Em Am
Yayılır nefesin çiçeklere, ay ışıldar soğuk bedeninde
Em F Dm G F Em
Günah bana hiç el değil, feryat eder dilim hüzünlere
C G Am
Vedalar doğru değil, sevgiler yalan değil
Em
Koşarım ben sensizliğe
C G Am Em
Bu son bakışsa gitmek hiç mümkün değil
Em Am
Görünür bana senden kalan, bilirim ki vardır şarkımı duyan
Em F Dm G F Em
Boşunadır yakarış çizilene, geçer zaman aşk sevilince
Em Am
Ölümler çıplak gelir, geceyi indirir yavaşça gözlerine
Em F Dm G F Em
Senden çıkmak kolay değil beterdir hayat acılar çekenlere
C G Am
Vedalar doğru değil, sevgiler yalan değil
Em
Koşarım ben bensizliğe
C G Am Em
Ağlarım yağmur düşürür seni, kapı açık gir içer
C G Am Em
kapı açık gir içeri
End of song Play again?
Düş Sokağı Sakinleri - Ölümler Çıplak Gelir Tabs
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Harmony analysis
Düş Sokağı Sakinleri – Ölümler Çıplak Gelir: 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.
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 9 times against 5 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | 5× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 4× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 17× |
| 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 | 9× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 9× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 9× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 5× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 4× |
| v | Em | Minor dominant — soft pull | E · G · B | 17× |
| 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 | 9× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 52 times in total; 6 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×5
- Em Am Ciii → vi Amv → inatural-minor cadence ×4
- Dm G Cii → Vii → V Amiv → VII ×4
The move to watch is G → Am, heard 5 times. From the Am side it is VII → i (Aeolian arrival: rises a whole tone into home); from the C side it reads V → vi (deceptive cadence: expected C, lands on 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 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 G, land on G, B, D — 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
Starting on Em, the song gives away its key from the very first bar. The chords that keep coming back are Em, Am, G, F; read them as iii–vi–V–IV in C or v–i–VII–VI in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → Am (V → vi in C, VII → i in Am): Aeolian arrival — rises a whole tone into home. It closes on Em, letting the C side have the last word.
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.
Düş Sokağı Sakinleri - Ölümler Çıplak Gelir 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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Music: Murat Yilmazyildirim
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