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)
Çağan Şengül - Mevsimler Gibi - Chord
Key C major – A minor Chords Am, C, G, F Easy key G (capo 5)
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Key: C | Am
Capo: 0
C Am C Am
C Am C
Biz uzak nehirlerden geçen
Am C
Bir balık gibi
Am C
Biz mavi gökyüzünde uçan
Am
Bir kuş gibi
G F
Hep sen varsın yanımda
G F
Mevsimler gibi sana sarılmak
C
Sarılmak
C Am C Am
C Am C
Bordo rengi düşlerin
Am C
İçin de mavi gülüşlerin
Am
Beni ilk öptüğün yerdeyim
C Am
Söyle nerdeyim
G F
Hep sen varsın yanımda
G F
Mevsimler gibi sana sarılmak
C
Sarılmak
C Am C Am F G Am Am F G Am
F G Am
Sen ışıklarda elimi tutan
G F
Küçük bir çocuksun
G Am
Sen seni bulduğumdan beri
G F
Uçurumsunn
G Am G
Kayalıklarda parçalanmayı
F G Am F
Göze aldım
G Am
Mevsimler gibi sana sarıldım
End of song Play again?
Çağan Şengül - Mevsimler Gibi Tabs
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Harmony analysis
Çağan Şengül – Mevsimler Gibi: key and chord analysis
The song opens on C and ends on Am. 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 comes to rest on Am, it opens on C and Am is heard 22 times against 16 for C. 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 | 16× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | — |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 11× |
| V | G | Dominant — strongest pull home | G · B · D | 14× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 22× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 22× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 16× |
| iv | Dm | Subdominant — moves away from home | D · F · A | — |
| 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 | — |
| VI | F | Submediant — warm colour | F · A · C | 11× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 14× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 63 times in total; 4 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- F G CIV → VIV → V AmVI → VIIVI → VII ×9
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×7
- F C CIV → Iplagal cadence AmVI → III ×2
The move to watch is F → G, heard 9 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over C, land on C, E, G — 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
- 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. The chords that keep coming back are Am, C, G, F; read them as vi–I–V–IV in C or i–III–VII–VI in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → G (IV → V in C, VI → VII in Am): VI → VII — the rising step that heads for the tonic. It closes on Am, letting the Am 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.
Çağan Şengül - Mevsimler Gibi 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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