Major view
A major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G# (leading tone, pulls home)
- 4 = D (the note that leans on the 3rd)
Ayça Özefe - Karanlık - Chord
Key A major – F# minor Chords F#m, C#m, E, D, Bm, Bm7, Dmaj7 Easy key C
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Key: A | Gbm | F#m
Capo: 0
F#m
Ey protest halkım
C#m
Bana ne yaptın
F#m Bm
İçinizden hiçbirinize ait hissedemiyorum
C#m
Davanıza davam diyemiyorum
Bm
Bilemiyorum, sorun bende mi, ne yapsam kendimi
Anlatsam derdimi
F#m E
Her yer karanlık, yarından umudum yok
D
Aslında sorum çok ve cevaplar sayfalar dolusu önümde
Ne kadar görmek istesem de gözümle
F#m E
Her yer karanlık, her yer karanlık
Bm7
Hiç ışık yok
F#m
Ne zaman düşsem bu yalnızlığa
C#m
Kitaplar koştu hep yardımıma
F#m
Binlerce yıl önce mum ışığında
C#m
Kavuşmuşlar insanlar aydınlığa
F#m
Şimdi tüm bu ustalar izlerlerken
C#m
Ve güya tanrılar da bizlerleyken
Dmaj7
Ne yaptık da düştük bu karanlığa
Sanki uzanıyor ta yanı başımdan sonsuzluğa
F#m E
Her yer karanlık, yarından umudum yok
D
Aslında sorum çok ve cevaplar sayfalar dolusu önümde
Ne kadar görmek istesem de gözümle
F#m E
Her yer karanlık, her yer karanlık
D
Hiç ışık yok
F#m C#m
Yine birilerini kızdırdım, yağıyor üstüme tanrının laneti
F#m
Ne hain, ne katil, ne de hırsızdım
C#m
Tanrınız buysa beyler, yok hiç adaleti
F#m
Protestler, yeni tezler üretirlerken
C#m
Bir şekilde marjinal olalım derken
Bm
Az olmak uğruna yine çoktan oldular
Adeta koskocaman bir boktan ordular
F#m
Ne yaptıysam olmadı, hep haksızdım
C#m
Söylemlerim pek çokları için tatsızdı
F#m
Arkamda Titanlar olsa da fark etmez
C#m
Onların gözünde ben hep dayanaksızdım
F#m
Konuştukça gözlerinde düşüyorum
C#m
Nolur ört üstümü anne, çok üşüyorum
Bm
Delirtiyor beni insanların gamsızlığı
Ne olacak da bitecek bu yalnızlığım
F#m E
Her yer karanlık, yarından umudum yok
D
Aslında sorum çok ve cevaplar sayfalar dolusu önümde
Ne kadar görmek istesem de gözümle
F#m E
Her yer karanlık, her yer karanlık
D
Hiç ışık yok
End of song Play again?
Ayça Özefe - Karanlık Tabs
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Harmony analysis
Ayça Özefe – Karanlık: key and chord analysis
The song opens on F#m and ends on D. Its chords belong to both A major and F#m, so every chord below is read both ways.
Minor view
F# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = D (the minor's melancholy)
- b7 = E (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F# minor side because it opens on F#m and F#m is heard 17 times while A never appears. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 A or to F#m; 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 | A | Tonic — home | A · C# · E | — |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | 4× |
| ii7 | Bm7 | Supertonic — prepares the dominant | B · D · F# · A | 1× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | 11× |
| V/vi | C# | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# | — |
| IV | D | Subdominant — moves away from home | D · F# · A | 5× |
| IVmaj7 | Dmaj7 | Subdominant — moves away from home | D · F# · A · C# | 1× |
| V | E | Dominant — strongest pull home | E · G# · B | 6× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 17× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 17× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | — |
| iv | Bm | Subdominant — moves away from home | B · D · F# | 4× |
| iv7 | Bm7 | Subdominant — moves away from home | B · D · F# · A | 1× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | 11× |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VI | D | Submediant — warm colour | D · F# · A | 5× |
| VImaj7 | Dmaj7 | Submediant — warm colour | D · F# · A · C# | 1× |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 6× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 7 different chords appear 45 times in total; 7 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
- C#m F#m Aiii → vi F#mv → inatural-minor cadence ×7
- D F#m AIV → vi F#mVI → iVI → i ×4
- Bm F#m Aii → vi F#miv → iminor plagal ×3
- Bm7 F#m Aii7 → vi F#miv7 → iminor plagal ×1
- Dmaj7 F#m AIVmaj7 → vi F#mVImaj7 → iVI → i ×1
The move to watch is C#m → F#m, heard 7 times. From the F#m side it is v → i (natural-minor cadence: gentle, modal arrival); from the A side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
- Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over C#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- Over E, land on E, G#, B — 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 A major shapes
- No capo — open A shapes
- Capo 2 + G shapes
- Capo 5 + E shapes
With F# minor shapes
- Capo 2 + Em shapes
- Capo 4 + Dm shapes
Easiest keys on guitar
- 3 semitones up
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
Starting on F#m, the song gives away its key from the very first bar. The chords that keep coming back are F#m, C#m, E, D; read them as vi–iii–V–IV in A or i–v–VII–VI in F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C#m → F#m (iii → vi in A, v → i in F#m): natural-minor cadence — gentle, modal arrival. The final chord is D; the ear comes to rest in A.
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.
Ayça Özefe - Karanlık 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: Dolu Kadehi Ters TutMusic: Dolu Kadehi Ters Tut
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