Teoman - O Yaz - Chord

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

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Capo 0

C          Em      G         C            Em            Dm      C
Nasıl da geçmişti bütün bir yaz, başımda kavak yelleri esen o yaş
F       Em      F     Dm    C           Em         G      C       
Sense hanımeli kadar beyaz, çalmıştınız kalbimi bilmeden biraz

C   Em   G   C

C            Em        Dm   C            Em         G         C
Nasıl da koşuşurduk bahçelerde, şarkı söylerdik mehtaplı gecelerde
F         Em       F       Dm     C        Em            G       C
Sen bana ben sana komşu evlerde, kök sarmaşıklar gibi sarıldık o yaz

C   Em   G   C 

G                     C     G                    C
Elimde değerli safça elin, benimse arardı seni gözlerim
F         Em       F       Dm     C       Em        G         C
Öpüşürken korkusu bir şeylerin, aşkımıza ilk hüznü getirdi biraz 

C   Em   G   C

C         Em     G       C              Em       Dm      C
Çocuk kalbimize dolan gamla, oturup ağlamıştık sessiz çardakta
F          Em       F   Dm   C       Em           G       C   
Çaresiz erken inen akşamla, veda edip ayrıldık biterken o yaz   
F         Em      F        Dm     C       Em             G       C
Sen bana ben sana komşu evlerde, kök sarmaşıklar gibi sarıldık o yaz
F       Em      F     Dm    C          Em          G       C
Sense hanımeli kadar beyaz, veda edip ayrıldık biterken o yaz
F          Em       F   Dm   C       Em            G      C
Çaresiz erken inen akşamla, veda edip ayrıldık biterken o yaz

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Teoman - O Yaz Tabs

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Harmony analysis

Teoman – O Yaz: key and chord analysis

The song opens on C and ends on C. 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 C major side because it both starts and finishes on C and C is heard 31 times while Am never appears. That is an interpretation, not a rule — hearing the same chords from A minor is just as valid and teaches you something different.

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	31×
ii	Dm	Supertonic — prepares the dominant	D · F · A	10×
iii	Em	Mediant — a tonic-family shade	E · G · B	23×
III	E	Chromatic colour chordoutside the key	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	14×
V	G	Dominant — strongest pull home	G · B · D	15×
vi	Am	Relative minor — the melancholy side	A · C · E	—
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	—
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	31×
iv	Dm	Subdominant — moves away from home	D · F · A	10×
v	Em	Minor dominant — soft pull	E · G · B	23×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	14×
VII	G	Subtonic — steps back to the tonic	G · B · D	15×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 93 times in total; 5 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 C CV → Iauthentic cadence AmVII → III ×15

The move to watch is G → C, heard 15 times. From the C side it reads V → I (authentic cadence: the strongest arrival home); from the Am side it is VII → III. 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 C, land on C, E, G — the chord's own tones always sound right on strong beats.
Over Em, land on E, G, B — 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 opening C lays a solid floor for everything that follows. The chords that keep coming back are C, Em, G, F; read them as I–iii–V–IV in C or III–v–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 → C (V → I in C, VII → III in Am): authentic cadence — the strongest arrival home. The final chord is C; the ear comes to rest in C.

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.