İmera - Ağlar Gezerum (Hüseyin Turan) - Chord

Key C major – A minor Chords Fmaj7, Em, Am, Dm7, Em7, Am7 Difficulty already in its easiest key

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Capo 0

Am  Fmaj7  Am  Dm7  Em7

Fmaj7      Em
Dağlar virane dağlar
Fmaj7       Em
Duysanuz faryadumi
Fmaj7     Em
Başkasini sevmişsam
Fmaj7     Em   Am7
Unitmişsa adumii

Am
Gülmem daha gülmem
Fmaj7
Ağlar gezerum
Am
Yureğume karalar
Dm7       Em7
Bağlar gezerum

Am  Fmaj7  Am  Dm7  Em7

Fmaj7      Em
Daha bahar gelmesa
Fmaj7      Em
Gecem güne dönmesa
Fmaj7     Em
Bunca çabami görup
Fmaj7     Em     Am7
Yine beni sevmesaa

Am
Gülmem daha gülmem
Fmaj7
Ağlar gezerum
Am
Yureğume karalar
Dm7       Em7
Bağlar gezerum

Fmaj7      Em
Rüzgarlara bırakmiş
Fmaj7      Em
Saçlarinun telini
Fmaj7       Em
Ben değilde başkasi
Fmaj7     Em
Tutar ise elini

Am
Gülmem daha gülmem
Fmaj7
Ağlar gezerum
Am
Yureğume karalar
Dm7       Em7
Bağlar gezerum

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İmera - Ağlar Gezerum (Hüseyin Turan) Tabs

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Harmony analysis

İmera – Ağlar Gezerum (Hüseyin Turan): key and chord analysis

The song opens on Am and ends on Em7. 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 it opens on Am and Am is heard 12 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	—
ii7	Dm7	Supertonic — prepares the dominant	D · F · A · C	5×
iii	Em	Mediant — a tonic-family shade	E · G · B	12×
iii7	Em7	Mediant — a tonic-family shade	E · G · B · D	5×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IVmaj7	Fmaj7	Subdominant — moves away from home	F · A · C · E	17×
V	G	Dominant — strongest pull home	G · B · D	—
vi	Am	Relative minor — the melancholy side	A · C · E	10×
vi7	Am7	Relative minor — the melancholy side	A · C · E · G	2×
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	10×
i7	Am7	Tonic — home	A · C · E · G	2×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	—
iv7	Dm7	Subdominant — moves away from home	D · F · A · C	5×
v	Em	Minor dominant — soft pull	E · G · B	12×
v7	Em7	Minor dominant — soft pull	E · G · B · D	5×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VImaj7	Fmaj7	Submediant — warm colour	F · A · C · E	17×
VII	G	Subtonic — steps back to the tonic	G · B · D	—

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 51 times in total; 6 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

Fmaj7 Am CIVmaj7 → vi AmVImaj7 → iVI → i ×5
Em Am7 Ciii → vi7 Amv → i7natural-minor cadence ×2
Em7 Am Ciii7 → vi Amv7 → inatural-minor cadence ×1
Em Am Ciii → vi Amv → inatural-minor cadence ×1

The move to watch is Fmaj7 → Am, heard 5 times. From the Am side it is VImaj7 → i (VI → i: falls a half step into home); from the C side it reads IVmaj7 → 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 Fmaj7, land on F, A, C — the chord's own tones always sound right on strong beats.
Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
Over Am, land on A, C, E — 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 Am, the song gives away its key from the very first bar. The backbone is Fmaj7, Em, Am, Dm7 — IVmaj7–iii–vi–ii7 from the C side, VImaj7–v–i–iv7 from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fmaj7 → Am (IVmaj7 → vi in C, VImaj7 → i in Am): VI → i — falls a half step into home. It closes on Em7, letting the C side have the last word.

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.