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)
Erol Evgin - Sitem (Ceylan Ertem) - Chord
Key C major – A minor Chords G, Dm, C, Am, F, Em, Bm7b5, E Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Am Dm G C F Bm7b5 E Am Am G C Dm Em Önde zeytin ağaçları arkasında yar, arkasında yar Am Dm F G C Sene dokuzyüzkırkaltı mevsim sonbahar, mevsim sonbahar F Em Dm G C Yar yar seni kara saplı bıçak gibi sineme sapladılar F Em Dm G C Em Yar yar seni kara saplı bıçak gibi sineme sapladılar, ah Am Dm Değirmen misali döner başım G C Sevda değil bu bir hışım F Bm7b5 Gel gör beni darmadağın E Am Tel tel çözülüp kalmışım Am Dm G C F Bm7b5 E Am Am G C Dm Em Önde zeytin ağaçları dalları neyleyim, dalları neyleyim Am Dm F G C Yar yoluna dökülmedik dilleri neyleyim, dilleri neyleyim F Em Dm G C Yar yar seni kara saplı bıçak gibi sineme sapladılar F Em Dm G C Em Yar yar seni kara saplı bıçak gibi sineme sapladılar, ah Am Dm Değirmen misali döner başım G C Sevda değil bu bir hışım F Bm7b5 Gel gör beni darmadağın E Am Tel tel çözülüp kalmışım Am G C Dm Em Önde zeytin ağaçları arkasında yar, arkasında yar G Em Dm G C Canımın çekirdeğinde diken, gözümün bebeğinde sitem var F G Em Dm G C Yar yar canımın çekirdeğinde diken, gözümün bebeğinde sitem var
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Erol Evgin - Sitem (Ceylan Ertem) Tabs
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Harmony analysis
Erol Evgin – Sitem (Ceylan Ertem): key and chord analysis
The song opens on Am and ends on C. 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: we can't honestly pick a side here — the song moves freely between C major and A minor because it comes to rest on C, it opens on Am, C is heard 15 times against 13 for Am and the major V chord points straight at Am. Try reading the chords both ways and see which feels more like home to you.
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 | 15× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 15× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 11× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | 4× |
| IV | F | Subdominant — moves away from home | F · A · C | 11× |
| V | G | Dominant — strongest pull home | G · B · D | 17× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 13× |
| viiø7 | Bm7b5 | Leading-tone chord — tension | B · D · F · A | 4× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 13× |
| iiø7 | Bm7b5 | Supertonic — prepares the dominant | B · D · F · A | 4× |
| III | C | Relative major — the bright side | C · E · G | 15× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 15× |
| v | Em | Minor dominant — soft pull | E · G · B | 11× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | 4× |
| VI | F | Submediant — warm colour | F · A · C | 11× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 17× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 8 different chords appear 90 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
- G C CV → Iauthentic cadence AmVII → III ×15
- Dm G Cii → Vii → V Amiv → VII ×10
- E Am CV/vi → vi AmV → iharmonic-minor cadence ×4
- Bm7b5 E Cviiø7 → V/vi Amiiø7 → Vii° → V ×4
- Em Am Ciii → vi Amv → inatural-minor cadence ×4
- F G CIV → VIV → V AmVI → VIIVI → VII ×3
The move to watch is G → C, heard 15 times. From the C side it reads V → I (authentic cadence: the strongest arrival home); from the Am side it is VII → 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 G, land on G, B, D — 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 C, land on C, E, G — 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
The song is already written in its easiest key for guitar.
The song's harmonic story
The first chord is Am; the ear learns where home is within a second. G, Dm, C, Am carry the song: V–ii–I–vi relative to C, VII–iv–III–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 G → C (V → I in C, VII → III in Am): authentic cadence — the strongest arrival home. 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.
Erol Evgin - Sitem (Ceylan Ertem) 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: B. Rahmi EyüboğluMusic: Erol Evgin
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