Derya Bedavacı - Kavuşmalıyız (Hakan Altun) - Chord

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

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Capo 0

Em          Dm           Em
Kimseler dolduramadı yerini
Em        Dm             Am
Hala kabullenmedim gidişini

F              Em               Dm
Varsa bir günahım gel de konuşalım
               Em
Bir bilene soralım
G                 F
Yaşanmaz ki böyle vurdum ta dibine
Dm               Em
Yok mu biraz hatırım

F               Em               Dm
Yok da bir günahın, gururdan inadım
              Em
Kalbimize soralım
G               F
Yaşanır da böyle, yaşamak denirse
Dm              Em
Bende büyük hatırın

Am                       Em
Gel de ne hanlar isterim ne de hamamlar
G                      Dm
Bak gözlerime yeter ki durur zamanlar

F
Yol yorgam dinlemez elbet
Em           Am       Dm
Bedeni sardıysa bu illet
          F       Em
Çaresi yok kavuşmalıyız

Am  Em  Dm  Em  G  F  Dm  Em

F

Em          Dm           Em
Kimseler dolduramadı yerini
Em        Dm             Am
Hala kabullenmedim gidişini

F              Em               Dm
Varsa bir günahım gel de konuşalım
               Em
Bir bilene soralım
G                 F
Yaşanmaz ki böyle vurdum ta dibine
Dm               Em
Yok mu biraz hatırım

Am                 Em
Ben bir aşk istedim o da sende var
G                     Dm
Bak gözlerime yeter ki dursun zamanlar

F
Yol yorgam dinlemez elbet
Em           Am       Dm
Bedeni sardıysa bu illet
          F       Em
Çaresi yok kavuşmalıyız

End of song Play again?

Derya Bedavacı - Kavuşmalıyız (Hakan Altun) Tabs

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Harmony analysis

Derya Bedavacı – Kavuşmalıyız (Hakan Altun): 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 7 times while C never appears. 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	—
ii	Dm	Supertonic — prepares the dominant	D · F · A	16×
iii	Em	Mediant — a tonic-family shade	E · G · B	24×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	12×
V	G	Dominant — strongest pull home	G · B · D	6×
vi	Am	Relative minor — the melancholy side	A · C · E	7×
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	7×
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	16×
v	Em	Minor dominant — soft pull	E · G · B	24×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	12×
VII	G	Subtonic — steps back to the tonic	G · B · D	6×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 65 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

Em Am Ciii → vi Amv → inatural-minor cadence ×5
Dm Am Cii → vi Amiv → iminor plagal ×2

The move to watch is Em → Am, heard 5 times. From the Am side it is v → i (natural-minor cadence: gentle, modal arrival); from the C side it reads iii → 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 Em, land on E, G, B — 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.

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 opening Em lays a solid floor for everything that follows. Em, Dm, F, Am carry the song: iii–ii–IV–vi relative to C, v–iv–VI–i relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em → Am (iii → vi in C, v → i in Am): natural-minor cadence — gentle, modal arrival. 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.