Teoman - Parti - Chord

Key C major – A minor Chords Am, F, E, Bm, A, C#m, Dm, Bb … Easy key F (capo 7)

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Capo 0

Am                                                               F
Sıkı sıkı tuttum ellerinden, kayıp gitme hayatımdan sen de diye bazen
Am                                                         F
Ama ittim çoğu kez ürküp aşkından güçsüz yaptın diye beni sen
Dm                   Bb             Am   E 
Oysa derinlerde hep bildim ki kanımdaydın

Am                        F                      Am           F
Öyle gurur duydum ki beni böyle büyük sevebildin diye bana rağmen
Am                         F                       Am                         F
Gelmiştim, görmüştüm, yenilmiştim, sevmemiştim tam gidiyordum dünyadan sen yokken
Dm                        Bb                Am         E
Öyle güzel aldın ki beni içine, öyle sardın ki benim oldun

     Bm  F#   D         A          Bm     C#m     A  E
Ama korktum, kaybedecek bir şeyim oldu diye korktum
Bm  F#  D         A  Bm  C#m   A   E
Koştum bildiğim dünyaya  

E             C#m            G#m     F#m   B          E 
Parti bitmiş, herkes gitmiş, dava düşmüş, konu kapanmış
              C#m            G#m    F#m    B         E 
Parti bitmiş, herkes gitmiş, dava düşmüş, konu kapanmış

Am                      F                    Am                  F
Acıkmıştım, susamıştım, üşümüştüm, kavrulmuştum sıcaktan sana geldim
Am                          F                          Am            F
damağım kuru, sesim kısık, gardım inik, boynum bükük, dedim yine al beni
Dm                    Bb               Am  E
Çünkü derinlerde hep bildim ki kanımdaydın

Am                         F                Am                 F
Seni bitirdim dedin çektin kepenkleri dedin öldü bendeki sen, gömülü şimdi
Bm                 F#m   E
Baktım, baktım, anladım

End of song Play again?

Teoman - Parti Tabs

NotesX

Harmony analysis

Teoman – Parti: 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.

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)
#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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	—
bii	C#m	Chromatic colour chordoutside the key	C# · E · G#	4×
ii	Dm	Supertonic — prepares the dominant	D · F · A	3×
II	D	Chromatic colour chordoutside the key	D · F# · A	2×
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	9×
IV	F	Subdominant — moves away from home	F · A · C	12×
#iv	F#m	Chromatic colour chordoutside the key	F# · A · C#	3×
#IV	F#	Chromatic colour chordoutside the key	F# · A# · C#	2×
V	G	Dominant — strongest pull home	G · B · D	—
bvi	G#m	Chromatic colour chordoutside the key	G# · B · D#	2×
vi	Am	Relative minor — the melancholy side	A · C · E	15×
V/ii	A	Secondary dominant V/ii — leads to Dmsecondary dominant	A · C# · E	4×
bVII	Bb	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	Bb · D · F	3×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—
vii	Bm	Chromatic colour chordoutside the key	B · D · F#	5×
V/iii	B	Secondary dominant V/iii — leads to Emsecondary dominant	B · D# · F#	2×

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	15×
V/iv	A	Secondary dominant V/iv — leads to Dmsecondary dominant	A · C# · E	4×
bII	Bb	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Bb · D · F	3×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
ii	Bm	Chromatic colour chordoutside the key	B · D · F#	5×
V/v	B	Secondary dominant V/v — leads to Emsecondary dominant	B · D# · F#	2×
III	C	Relative major — the bright side	C · E · G	—
#iii	C#m	Chromatic colour chordoutside the key	C# · E · G#	4×
iv	Dm	Subdominant — moves away from home	D · F · A	3×
IV	D	Major IV — Dorian / melodic-minor colourmodal colour	D · F# · A	2×
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	9×
VI	F	Submediant — warm colour	F · A · C	12×
#vi	F#m	Chromatic colour chordoutside the key	F# · A · C#	3×
#VI	F#	Chromatic colour chordoutside the key	F# · A# · C#	2×
VII	G	Subtonic — steps back to the tonic	G · B · D	—
#vii	G#m	Chromatic colour chordoutside the key	G# · B · D#	2×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 13 different chords appear 66 times in total; 3 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. A, B act as secondary dominants, briefly pointing at another chord of the key. Bb is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

F Am CIV → vi AmVI → iVI → i ×8
E Am CV/vi → vi AmV → iharmonic-minor cadence ×3

The move to watch is F → Am, heard 8 times. From the Am side it is VI → i (VI → i: falls a half step into home); from the C side it reads IV → 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 F, land on F, A, C — the chord's own tones always sound right on strong beats.
Over E, land on E, G#, B — 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

5 semitones up · capo 7 keeps the original pitch
3 semitones up

The song's harmonic story

The first chord is Am; the ear learns where home is within a second. Am, F, E, Bm carry the song: vi–IV–V/vi–vii relative to C, i–VI–V–ii 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 F → Am (IV → vi in C, VI → i in Am): VI → i — falls a half step into home. 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.