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)
Tuna Kiremitçi - Neresi Olmalı (Dilhan Şeşen) - Chord
Key C major – A minor Chords Am, Dm, F, G, E Easy key G (capo 5)
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Key: C | Am
Capo: 0
Am G
Karanlığın aydınlıkla savaşında
Dm Am
Karanlıktan yana değilsen eğer
G
İyilik kötülüğe yenik düşerken
Dm Am
Kötülükten yana değilsen eğer
Dm Am
Nefretin sevgiyle yarışında
E Am
Nefretten yana değilsen eğer
Dm Am
Akıl sinmişken aptallık karşısında
E Am
Aptallıktan yana değilsen eğer
F Am
Neresi olmalı, neresi olmalı
F Am
Neresi olmalı bulunduğun yer
F Am
Neresi olmalı, neresi olmalı
G F Am
Neresi olmalı bulunduğun yer
Am G
Zalim acı çektirmedeyken mazluma
Dm Am
Zalimden yana değilsen eğer
G
Doğruluk yalanla kuşatılmışsa
Dm Am
Yalandan yana değilsen eğer
Dm Am
Sinsi tuzaklarına erdemsizliğin
E Am
Erdem düşmek üzereyse eğer
Dm Am
Adalet kılıcının kabzasına
E Am
Celladın eli uzanmışsa eğer
F Am
Neresi olmalı, neresi olmalı
F Am
Neresi olmalı bulunduğun yer
F Am
Neresi olmalı, neresi olmalı
G F Am
Neresi olmalı bulunduğun yer
Am G
Alçaklıkla insan olmak arasında
Dm Am
Bir seçim yapman gerekirse eğer
G
Korku cesareti kemirmedeyken
Dm Am
Korkudan yana değilsen eğer
Dm Am
Ölüm bıçak bilemekteyken yaşama
E Am
Ölümden yana değilsen eğer
Dm Am
Ve yaşamla ölüm arasındaki savaşta
E Am
Ölümü göze alman gerekirse eğer
F Am
Neresi olmalı, neresi olmalı
F Am
Neresi olmalı bulunduğun yer
F Am
Neresi olmalı, neresi olmalı
G F Am
Neresi olmalı bulunduğun yer
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Tuna Kiremitçi - Neresi Olmalı (Dilhan Şeşen) Tabs
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Harmony analysis
Tuna Kiremitçi – Neresi Olmalı (Dilhan Şeşen): key and chord analysis
The song opens on Am 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)
- #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 A minor side because it both starts and finishes on Am, Am is heard 33 times while C never appears and the major V chord points straight at Am. 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 | 12× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | 6× |
| IV | F | Subdominant — moves away from home | F · A · C | 12× |
| V | G | Dominant — strongest pull home | G · B · D | 9× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 33× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 33× |
| 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 | 12× |
| 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 | 6× |
| VI | F | Submediant — warm colour | F · A · C | 12× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 9× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 72 times in total; 4 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
- Dm Am Cii → vi Amiv → iminor plagal ×12
- F Am CIV → vi AmVI → iVI → i ×12
- E Am CV/vi → vi AmV → iharmonic-minor cadence ×6
The move to watch is Dm → Am, heard 12 times. From the Am side it is iv → i (minor plagal: deep and melancholic); from the C side it reads ii → vi. 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 Dm, land on D, F, A — 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.
- 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 Am; the ear learns where home is within a second. The chords that keep coming back are Am, Dm, F, G; read them as vi–ii–IV–V in C or i–iv–VI–VII in 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 Dm → Am (ii → vi in C, iv → i in Am): minor plagal — deep and melancholic. Ending on Am, the song seals Am 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.
Tuna Kiremitçi - Neresi Olmalı (Dilhan Şeşen) 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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Lyrics: Ataol BehramoğluMusic: Tuna KiremitçiArrangement: Hüseyin Çebişci
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