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)
Onur Akın - Gaybana Geceler - Chord
Key C major – A minor Chords Am, Em, G, D Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Am Oy sevdasına kurban olduğum oy Em Am Bilsen ne gaybana geceler yaşarım G Em Gaybana gecelere oy Am Kulaklarımda buruk buruk uğultular Em Am Ben günlere yanarım günler bana Em Am Demem o ki sana, hasretin o kadar koymazdı amma Em Am G D Geceler öyle bir gaybana, gaybana gaybana Em Am Geceler öyle bir kötü dilli gavur G Em Gavur ki sorma Am Dönerim olmaz yatarım olmaz Em Am Upuzun Hint fakiri yatağı gece Em Am Öyle bir batar ki dört yanımdan Em Am Ayağımı uzatırım parmaklık D Em Elimi uzatırım soğuk duvar Am Oy kilit parmak demir soğuk duvar Em Am Oy yandır geceler andır Em Am Kan revandır kan revandır kan revandır Em Am Yüreğimin hasretinde yalnızlık değme puşt G Em Gaybana gecelerin esaretinde Am Oy sevdasına kurban olduğum oy Em Am Bilsen ne gaybana geceler yaşarım G Em Gaybana gecelere oy
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Onur Akın - Gaybana Geceler Tabs
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Harmony analysis
Onur Akın – Gaybana Geceler: key and chord analysis
The song opens on Am and ends on Em. 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 opens on Am and Am is heard 17 times while C never appears. 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 | — |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | — |
| V/V | D | Secondary dominant V/V — leads to Gsecondary dominant | D · F# · A | 2× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 17× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | — |
| V | G | Dominant — strongest pull home | G · B · D | 5× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 17× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 17× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv | Dm | Subdominant — moves away from home | D · F · A | — |
| IV | D | Major IV — Dorian / melodic-minor colourmodal colour | D · F# · A | 2× |
| v | Em | Minor dominant — soft pull | E · G · B | 17× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | — |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 5× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 41 times in total; 3 of them sit naturally inside the shared scale. D acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Em Am Ciii → vi Amv → inatural-minor cadence ×16
The move to watch is Em → Am, heard 16 times. From the Am side it is v → i (natural-minor cadence: gentle, modal arrival); from the C side it reads iii → 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 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
Starting on Am, the song gives away its key from the very first bar. The chords that keep coming back are Am, Em, G, D; read them as vi–iii–V–V/V in C or i–v–VII–IV in Am. D adds a moment of surprise: secondary dominant V/V — leads to G. Keep an ear on Em → Am (iii → vi in C, v → i in Am): natural-minor cadence — gentle, modal arrival. It closes on Em, letting the C side have the last word.
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.
Onur Akın - Gaybana Geceler 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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