Teoman - İstanbul'da Sonbahar - Chord

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

Add to Repertoire

No ratings yet

or your user informations

Capo 0

               Am                Dm
Mevsim rüzgarları, ne  zaman eserse
               Am                  G                     Am
O zaman hatırlarım, çocukluk rüyalarım, şeytan uçurtmalarım
                           Dm
Öper beni annem, yanaklarımdan
              Am                G                    Am   Em  C
Güzel bir rüyada, sanki sevdiklerim, hayattalarken hala

Dm           Am               Dm                Am
Akşama doğru, azalırsa yağmur, kız kulesi ve adalar 
Dm             Am              F                  Am
Ah burda olsan, çok güzel hala, İstanbul'da, sonbahar

Am  Dm  Am  Dm  Am

                    Am              Dm
Her zaman kolay değil sevmeden sevişmek
                 Am              G                    Am
Tanımak bir vücudu yavaşça öğrenmek, alışmak ve kaybetmek
                                      Dm
İstanbul bugün yorgun, üzgün ve yaşlanmış
            Am              G                Am  Em  C
Biraz kilo almış, ağlamış yine, rimelleri akıyor

Dm           Am               Dm                Am
Akşama doğru, azalırsa yağmur, kız kulesi ve adalar 
Dm             Am              F                  Am
Ah burda olsan, çok güzel hala, İstanbul'da, sonbahar

End of song Play again?

Teoman - İstanbul'da Sonbahar Tabs

NotesX

Harmony analysis

Teoman – İstanbul'da Sonbahar: 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)

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 and Am is heard 21 times against 2 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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	2×
ii	Dm	Supertonic — prepares the dominant	D · F · A	12×
iii	Em	Mediant — a tonic-family shade	E · G · B	2×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	2×
V	G	Dominant — strongest pull home	G · B · D	4×
vi	Am	Relative minor — the melancholy side	A · C · E	21×
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	21×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	2×
iv	Dm	Subdominant — moves away from home	D · F · A	12×
v	Em	Minor dominant — soft pull	E · G · B	2×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	2×
VII	G	Subtonic — steps back to the tonic	G · B · D	4×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 43 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

Dm Am Cii → vi Amiv → iminor plagal ×12
G Am CV → videceptive cadence AmVII → iAeolian arrival ×4
F Am CIV → vi AmVI → iVI → i ×2

The move to watch is Dm → Am, heard 12 times. From the Am side it is iv → i (minor plagal: deep and melancholic); from the C side it reads ii → 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 Dm, land on D, F, A — 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

The first chord is Am; the ear learns where home is within a second. Am, Dm, G, Em carry the song: vi–ii–V–iii relative to C, i–iv–VII–v relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → Am (ii → vi in C, iv → i in Am): minor plagal — deep and melancholic. 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.