Feridun Düzağaç - Gözlerinden Anlarım - Chord

Key C major – A minor Chords Dm, G, C, Am, Em Difficulty already in its easiest key

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Capo 0

Dm   G   C  Am  Dm   Dm  C  C
Dm   G   C  Am  Dm   G   C  C

   Dm      G         Am
İkimiz bir ağızdan konuştuk
  Dm      G           Am         Em 
Yüreğim iplerinden kurtulmuştu artık
    Dm       G          Am
Kelimem sana çarptı ve düştü
     Dm       G            Am         Em
Çünkü sen çok saptın ya da ben çok güçsüz

Am       Em  Am      Em
Her cümlede, her şarkıda
Dm                      G
Sana dair bir şeyler aradım

Dm      G           C         Am
Aslında çok şey var senden gizli
Dm                      C
Birer birer bulur açar, konuşuruz
Dm         G        C        Am
Ben susmam sen de susarmış gibi
Dm              G     C
Gözlerinden anlarım düşüncelerini

Dm   G   C  Am  Dm   Dm  C  C
Dm   G   C  Am  Dm   G   C  C

   Dm        G           Am
Belki çok yolumuz var sevmeye
        Dm       G          Am          Em
Kolay değil bu kadar yıl yalnızlıkla geçti
     Dm            G       Am
Bu dünyada hiç vakit yok düşünmeye
  Dm              G         Am        Em
Evet biraz geç kalmıştık ama artık bitti

Am         Em  Am        Em
Sen bir kalem, ben sayfayım
     Dm            G
Aşka dair ne varsa yazalım

Dm       G           C       Am
Aslında çok şey var senden gizli
Dm                      C
Birer birer bulur açar, konuşuruz
Dm         G         C       Am
Ben susmam sen de susarmış gibi
Dm               G     C
Gözlerinden anlarım düşüncelerini

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Feridun Düzağaç - Gözlerinden Anlarım Tabs

NotesX

Harmony analysis

Feridun Düzağaç – Gözlerinden Anlarım: key and chord analysis

The song opens on Dm 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C major side because it comes to rest on C. 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	20×
ii	Dm	Supertonic — prepares the dominant	D · F · A	28×
iii	Em	Mediant — a tonic-family shade	E · G · B	8×
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	22×
vi	Am	Relative minor — the melancholy side	A · C · E	20×
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	20×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	20×
iv	Dm	Subdominant — moves away from home	D · F · A	28×
v	Em	Minor dominant — soft pull	E · G · B	8×
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	22×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 98 times in total; 5 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

Dm G Cii → Vii → V Amiv → VII ×22
G C CV → Iauthentic cadence AmVII → III ×12
G Am CV → videceptive cadence AmVII → iAeolian arrival ×8
Em Am Ciii → vi Amv → inatural-minor cadence ×4

The move to watch is Dm → G, heard 22 times. From the C side it reads ii → V (ii → V: the classic preparation of the dominant); from the Am side it is iv → VII. 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 Dm, land on D, F, A — 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 C, land on C, E, G — 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 Dm, the song gives away its key from the very first bar. The chords that keep coming back are Dm, G, C, Am; read them as ii–V–I–vi in C or iv–VII–III–i in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → G (ii → V in C, iv → VII in Am): ii → V — the classic preparation of the dominant. 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.