Demir Demirkan - Resim - Chord

Key C major – A minor Chords C, F, Dm, Am, Em, G, Gsus4, E Easy key G (capo 5)

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Capo 0

C                Dm
Rengi solmuş bir fotoğraf
F                C
Hiç habersiz çekilmiş
                Dm
Belli ki çok eğlenmişiz
F         C
Nananananana

C               Dm
Donuk bir an o geceden
F                C
O konuşan resimlerden
                Dm
Tanıdık sesler ve bir şarkı
F         C
Nananananana

Am
Gün ettik derken günleri
Em
Bir baktım geçmiş yıllar
F                    Dm
Terkettiğim şehirler, dostlar sevgililer
Gsus4                G
Kaybolmuş birer birer

C                E
Yine aynı şarkı çalıyor
F         C
Nananananana
Am                  Em
Başka dostlar etrafımda
F                G
Bir resim de bu geceden

C                Dm
Bir evde toplanmışız
F                C
Herkes güzel giyinmiş
                Dm
Belli ki çok önemsemişiz
F         C
Nananananana

C                Dm
Donuk gözler o geceden
F                C
O konuşan bakışlardan
                Dm
Tanıdık sesler ve bir şarkı
F         C
Nananananana

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Demir Demirkan - Resim Tabs

NotesX

Harmony analysis

Demir Demirkan – Resim: 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)
#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 C major side because it both starts and finishes on C, C is heard 14 times against 2 for Am and the major V chord points straight at Am. 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	14×
ii	Dm	Supertonic — prepares the dominant	D · F · A	9×
iii	Em	Mediant — a tonic-family shade	E · G · B	2×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	1×
IV	F	Subdominant — moves away from home	F · A · C	11×
V	G	Dominant — strongest pull home	G · B · D	2×
Vsus4	Gsus4	Dominant — strongest pull home	G · C · D	1×
vi	Am	Relative minor — the melancholy side	A · C · E	2×
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	2×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	14×
iv	Dm	Subdominant — moves away from home	D · F · A	9×
v	Em	Minor dominant — soft pull	E · G · B	2×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	1×
VI	F	Submediant — warm colour	F · A · C	11×
VII	G	Subtonic — steps back to the tonic	G · B · D	2×
VIIsus4	Gsus4	Subtonic — steps back to the tonic	G · C · D	1×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 8 different chords appear 42 times in total; 7 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.

Chord movement

F C CIV → Iplagal cadence AmVI → III ×9
G C CV → Iauthentic cadence AmVII → III ×2
Dm Gsus4 Cii → Vsus4ii → V Amiv → VIIsus4 ×1
F G CIV → VIV → V AmVI → VIIVI → VII ×1

The move to watch is F → C, heard 9 times. From the C side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Am side it is VI → 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 F, land on F, A, C — the chord's own tones always sound right on strong beats.
Over Dm, 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

5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

The first chord is C; the ear learns where home is within a second. C, F, Dm, Am carry the song: I–IV–ii–vi relative to C, III–VI–iv–i 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 → C (IV → I in C, VI → III in Am): plagal cadence — the soft 'amen' ending. Ending on C, 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.