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)
Erkan Oğur - Zahit Bizi Tan Eyleme (İsmail Hakkı) - Chord
Key C major – A minor Chords Am, Dm, C, F Easy key G (capo 5)
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Key: C | Am
Capo: 0
Am Dm C Dm
Zahid bizi tan eyleme hay hay
C Am F
Hak ismin okur dilimiz hey canım hey canım
Dm C Am
Hak ismin okur dilimiz eyvallah, hey hey dost
Am Dm C Dm
Sakın efsane söyleme hay hay
C Am F
Hazret'e varır yolumuz hey canım, hey canım
Dm C Am
Hazret'e varır yolumuz eyvallah, hey hey dost
Am Dm C Dm
Sayılmayız parmak ile hay hay
C Am F
Tükenmeyiz kırmak ile hey canım hey canım
Dm C Am
Tükenmeyiz kırmak ile eyvallah hey hey dost
Am Dm C Dm
Taşramızdan sormak ile hay hay
C Am F
Kimse bilmez ahvalimiz, hey canım hey canım
Dm C Am
Kimse bilmez ahvalimiz, eyvallah hey hey dost
Am Dm C Dm
Erenlerin çoktur yolu hay hay
C Am F
Cümlesine dedik beli hey canım hey canım
Dm C Am
Cümlesine dedik beli eyvallah hey hey dost
Am Dm C Dm
Gören bizi sanır deli hay hay
C Am F
Usludan yeğdir delimiz hey canım hey canım
Dm C Am
Usludan yeğdir delimiz eyvallah hey hey dost
Am Dm C Dm
Muhyi sana olan himmet hay hay
C Am F
Aşık isen cana minnet hey canım hey canım
Dm C Am
Aşık isen cana minnet eyvallah hey hey dost
Am Dm C Dm
Cümle alemlere rahmet hay hay
C Am F
Saçar şu yoksul elimiz hey canım hey canım
Dm C Am
Saçar şu yoksul elimiz eyvallah hey hey dost
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Erkan Oğur - Zahit Bizi Tan Eyleme (İsmail Hakkı) Tabs
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Harmony analysis
Erkan Oğur – Zahit Bizi Tan Eyleme (İsmail Hakkı): 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.
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 it both starts and finishes on 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 | 24× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 24× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| 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 | — |
| vi | Am | Relative minor — the melancholy side | A · C · E | 24× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 24× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 24× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 24× |
| 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 | — |
| VI | F | Submediant — warm colour | F · A · C | 8× |
| 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). 4 different chords appear 80 times in total; 4 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
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Dm, land on D, F, A — 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
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
The opening Am lays a solid floor for everything that follows. The backbone is Am, Dm, C, F — vi–ii–I–IV from the C side, i–iv–III–VI from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Ending on Am, the song seals Am 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.
Erkan Oğur - Zahit Bizi Tan Eyleme (İsmail Hakkı) 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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