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)
Yüksek Sadakat - Belki Üstümüzden Bir Kuş Geçer - Chord
Key C major – A minor Chords Em, G, F, Am, Dm, Fm Difficulty already in its easiest key
No ratings yet
or your user informations
Make it yours
Text size
Key: C | Am
Capo: 0
Em G
Gül renginde gün doğarken
Fm Em
Boğazdan gemiler usulca geçerken
G
Gel çıkalım bu şehirden
Fm Em
Ağaçlar, gökyüzü ve toprak uyurken
Am F
Dolaşalım kumsallarda
G
Çılgın kalabalık artık uzaklarda
Am F
Yorulursan yaslan bana
G
Sarılıp uyuyalım gün batımında
F Em
Belki üstümüzden bir kuş geçer
Dm Em
Kanadından bir tüy düşer
Am F G
İner döne döne gökyüzünden
Dm Em
Hiç bir yüz güzel değil senin yüzünden
F Em
Haydi kalk gidelim bu şehirden
Dm Em
Gün doğarken ya da güneş batarken
Am F G Em
Belki kuşlar geçer üstümüzden
F G
Kanatları senin ellerinden, ellerinden
End of song Play again?
Yüksek Sadakat - Belki Üstümüzden Bir Kuş Geçer Tabs
NotesX
Harmony analysis
Yüksek Sadakat – Belki Üstümüzden Bir Kuş Geçer: key and chord analysis
The song opens on Em and ends on G. 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 Am is heard 4 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 | 3× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 9× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 7× |
| iv | Fm | Minor iv — borrowed from the parallel minorborrowed chord | F · Ab · C | 2× |
| V | G | Dominant — strongest pull home | G · B · D | 7× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 4× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 4× |
| 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 | 3× |
| v | Em | Minor dominant — soft pull | E · G · B | 9× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 7× |
| vi | Fm | Chromatic colour chordoutside the key | F · Ab · C | 2× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 7× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 32 times in total; 5 of them sit naturally inside the shared scale. Fm is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- F G CIV → VIV → V AmVI → VIIVI → VII ×5
- Em Am Ciii → vi Amv → inatural-minor cadence ×3
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×1
The move to watch is F → G, heard 5 times. From the Am side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the C side it reads IV → V (IV → V: the lift that builds tension before home). 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 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.
- Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
- On Fm, follow the chord's notes (F · Ab · C) 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
The song is already written in its easiest key for guitar.
The song's harmonic story
The first chord is Em; the ear learns where home is within a second. The chords that keep coming back are Em, G, F, Am; read them as iii–V–IV–vi in C or v–VII–VI–i in Am. Fm briefly darkens the picture: minor iv — borrowed from the parallel minor. Keep an ear on F → G (IV → V in C, VI → VII in Am): VI → VII — the rising step that heads for the tonic. The final chord is G; 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.
Yüksek Sadakat - Belki Üstümüzden Bir Kuş Geçer 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.
Repertoires with this song
Similar songs, ready to play: pick a list.
Lyrics: Kutlu ÖzmakinacıMusic: Kutlu Özmakinacı
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.