Yalın - Sonsuza Dek - Chord

Key C major – A minor Chords E, Am, Dm7, G7, F, B Difficulty already in its easiest key

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Capo 0

Am  F  Dm7  E

Am                                       B
Sokaklar geçiyorum sızım hüznüm gölgem benim
                E                         F
Caddeler aşıyorum gözyaşlarım en sessizliğim
                  Dm7              G7
Asılsız çarelerle yürüyorum işte böyle
                       E
Zamanı geriye çeviririm diye
 

Am                             B
Acılar yaşıyorum kavuşmak bedeliyle
                  E               F
Bekliyor biliyorum az ötemde sessizce
                  Dm7             G7
Adımlarım yaklaştı görüyorum orda işte
                 E
Kayboluverdi yine sokaklar arasında
 

Am                                         Dm7
Elbet birgün yollar çaresizce tükenip son bulacak
     G7                     E
Zaman işte yeniden başlamış olacak
Am                                      Dm7
İnanırım kalbim onunla sonsuza dek yaşayacak
     G7                     E
Kaybolup gidecek maziyle birlikte

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Yalın - Sonsuza Dek Tabs

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Harmony analysis

Yalın – Sonsuza Dek: 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 5 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	—
ii7	Dm7	Supertonic — prepares the dominant	D · F · A · C	5×
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	7×
IV	F	Subdominant — moves away from home	F · A · C	3×
V7	G7	Dominant — strongest pull home	G · B · D · F	4×
vi	Am	Relative minor — the melancholy side	A · C · E	5×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—
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	5×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
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	—
iv7	Dm7	Subdominant — moves away from home	D · F · A · C	5×
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	7×
VI	F	Submediant — warm colour	F · A · C	3×
VII7	G7	Subtonic — steps back to the tonic	G · B · D · F	4×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 26 times in total; 4 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. B acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

E Am CV/vi → vi AmV → iharmonic-minor cadence ×4
Dm7 G7 Cii7 → V7ii → V Amiv7 → VII7 ×4
Dm7 E Cii7 → V/vi Amiv7 → Viv → V ×1

The move to watch is E → Am, heard 4 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 E, land on E, G#, B — the chord's own tones always sound right on strong beats.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Dm7, 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.

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 Am lays a solid floor for everything that follows. The chords that keep coming back are E, Am, Dm7, G7; read them as V/vi–vi–ii7–V7 in C or V–i–iv7–VII7 in 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.