Tarkan - Firuze - Chord

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

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Capo 0

Em  Em  Em  G  Am  Dm  Dm  G  F  Em

Em                          F
Bir gün dönüp bakınca düşler
             Em    F     G
İçmiş olursa yudum yudum yudum yıllarını
Em                   F
Ağla ağla Firuze ağla
               Em      G              F#m  F     Em
Anlat bir zaman ne dayanılmaz güzellikte   olduğunu

Em
Kıskanır rengini baharda yeşiller
                     G     Am
Sevda büyüsü gibisin sen Firuze
Dm
Sen nazlı bir çiçek bir orman kuytusu
G                   F     Em
Üzüm buğusu gibisin sen Firuze
x2

Am                            Dm
Duru bir su gibi bazen volkan gibi
G         F       G       C
Bazen bir deli rüzgar gibii
Am                              Dm
Gözlerinde telaş yıllar sence yavaş
G      F        Em 
Acelen ne bekle Firuze

Em  Em  Em  G  Am  Dm  Dm  G  F  Em

Em
Kıskanır rengini baharda yeşiller
                     G     Am
Sevda büyüsü gibisin sen Firuze
Dm
Sen nazlı bir çiçek bir orman kuytusu
G                   F     Em
Üzüm buğusu gibisin sen Firuze
x2

End of song Play again?

Tarkan - Firuze Tabs

NotesX

Harmony analysis

Tarkan – Firuze: key and chord analysis

The song opens on Em and ends on Em. 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 A minor side because Am is heard 6 times against 1 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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	1×
ii	Dm	Supertonic — prepares the dominant	D · F · A	8×
iii	Em	Mediant — a tonic-family shade	E · G · B	18×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	10×
#iv	F#m	Chromatic colour chordoutside the key	F# · A · C#	1×
V	G	Dominant — strongest pull home	G · B · D	13×
vi	Am	Relative minor — the melancholy side	A · C · E	6×
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	6×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	1×
iv	Dm	Subdominant — moves away from home	D · F · A	8×
v	Em	Minor dominant — soft pull	E · G · B	18×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	10×
#vi	F#m	Chromatic colour chordoutside the key	F# · A · C#	1×
VII	G	Subtonic — steps back to the tonic	G · B · D	13×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 57 times in total; 6 of them sit naturally inside the shared scale. F#m step outside the scale as colour chords.

Chord movement

Dm G Cii → Vii → V Amiv → VII ×6
G Am CV → videceptive cadence AmVII → iAeolian arrival ×4
F G CIV → VIV → V AmVI → VIIVI → VII ×2
G C CV → Iauthentic cadence AmVII → III ×1
Em Am Ciii → vi Amv → inatural-minor cadence ×1

The move to watch is Dm → G, heard 6 times. From the Am side it is iv → VII; from the C side it reads ii → V (ii → V: the classic preparation of the dominant). 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.

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, Dm; read them as iii–V–IV–ii in C or v–VII–VI–iv 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. The final chord is Em; 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.