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)
Şebnem Ferah - Gözlerimin Etrafındaki Çizgiler - Chord
Key C major – A minor Chords Am, Asus, Dm, E, Bb, Bm7b5, F Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Am Asus
Gözlerimin etrafındaki çizgiler
Am Asus
Artık belli oluyor
Am Asus
Bütün o çizgiler son bir yılda oldu
Am Asus
Sana, bana, bize ağlarken
Am Asus
Ben Leyla olmuşum kimin umrunda
Am Asus
Mecnun çoktan gitmişken
Am Asus
Bu ne garip bir yangındı böyle
Am Asus
Sen söndün ben yanarken
Dm Bb
Peki ben neden hala böyleyim
Bm7b5
Neden hala geçmişteyim
E
Belki de ben sana hala
Am F
Aşığım, işte tam burda karşındayım
Dm
Ya şimdi tut elimden
E
Ya da bir daha söz etme özlemekten
Am
Ben sana hala aşığım
F
İşte tam burda karşındayım
Dm
Ya şimdi tut elimden
E
Ya da bir daha söz etme özlemekten
Am
Çok çok çok karışığım zaten
Am Asus
Ruhum iki ucun arasında
Am Asus
Gezinip duruyor
Am Asus
Bugün zaman akmasın dursun
Am Asus
Ben içinden geçeceğim
Dm Bb
Ama neden, neden hala böyleyim
Bm7b5
Neden hala geçmişteyim
E
Belki de ben sana hala
End of song Play again?
Şebnem Ferah - Gözlerimin Etrafındaki Çizgiler Tabs
NotesX
Harmony analysis
Şebnem Ferah – Gözlerimin Etrafındaki Çizgiler: key and chord analysis
The song opens on Am and ends on E. 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)
- #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 opens 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | — |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 4× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | 4× |
| IV | F | Subdominant — moves away from home | F · A · C | 2× |
| V | G | Dominant — strongest pull home | G · B · D | — |
| vi | Am | Relative minor — the melancholy side | A · C · E | 15× |
| VIsus4 | Asus | Relative minor — the melancholy side | A · D · E | 12× |
| bVII | Bb | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | Bb · D · F | 2× |
| viiø7 | Bm7b5 | Leading-tone chord — tension | B · D · F · A | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 15× |
| Isus4 | Asus | Tonic — home | A · D · E | 12× |
| bII | Bb | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Bb · D · F | 2× |
| iiø7 | Bm7b5 | Supertonic — prepares the dominant | B · D · F · A | 2× |
| III | C | Relative major — the bright side | C · E · G | — |
| iv | Dm | Subdominant — moves away from home | D · F · A | 4× |
| v | Em | Minor dominant — soft pull | E · G · B | — |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | 4× |
| VI | F | Submediant — warm colour | F · A · C | 2× |
| 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). 7 different chords appear 41 times in total; 5 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 E is V/vi, a secondary dominant heading for Am. Bb is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- E Am CV/vi → vi AmV → iharmonic-minor cadence ×3
- Bm7b5 E Cviiø7 → V/vi Amiiø7 → Vii° → V ×2
- Dm E Cii → V/vi Amiv → Viv → V ×2
The move to watch is E → Am, heard 3 times. From the Am side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the C side it reads V/vi → 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Asus, land on A, D, 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 E comes, swap the scale's G for G#: that single note is the harmonic-minor sound of the chord.
- 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
The song is already written in its easiest key for guitar.
The song's harmonic story
Starting on Am, the song gives away its key from the very first bar. Am, Asus, Dm, E carry the song: vi–VIsus4–ii–V/vi relative to C, i–Isus4–iv–V relative to Am. E is the interesting twist: in C it is a chromatic chord (V/vi), while in Am it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on E → Am (V/vi → vi in C, V → i in Am): harmonic-minor cadence — the major V resolves dramatically. Ending on E, 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.
Şebnem Ferah - Gözlerimin Etrafındaki Çizgiler 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: Şebnem FerahMusic: Şebnem FerahArrangement: Şebnem Ferah, Ozan Tügen, Metin Türkcan
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