Jan Soykök - Gözümün Önüne Düştüğün Zaman - Chord

Key C major – A minor Chords C, Dm7, F, G, Dm, Cmaj7, E, E7 … Easy key G (capo 5)

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Capo 0

C  Dm7  F  C

C               Dm7
Bakar bakar dururum
         F                C
Gözümün önüne düştüğün zaman
                     Dm
Devrimizin en kötü bağımlılığı bu belki
F                C
Ama yine de gocunmam

      Dm7
Çünkü sen
G             C
 O kadar güzelsin ki
         F             Dm7
Uğruna yazılmalı şarkılar
        G             C
Söylenmeli böyle akşamlarda
           Dm7
Muhtemelen ben
G             C
 Tanınmam tarafından
            F                 Dm7
Fakat sesim kulağına gelir belki
            Cmaj7
Bir garip seviştir bu bendeki

C  Dm7  F  C

C                 Dm7
Nasıl bi yer bulurdum
         F               C
kendime içinde, beni tanısan
                      Dm
Bi arkadaşa sorabilirsin ismimi
       F                C
Eğer seni görünce unutursam

      Dm7
Çünkü sen
G             C
 O kadar güzelsin ki
         F             Dm7
Uğruna yazılmalı şarkılar
        G             C
Söylenmeli böyle akşamlarda
           Dm7
Muhtemelen ben
G             C
 Tanınmam tarafından
            F                 Dm7
Fakat sesim kulağına gelir belki
            Cmaj7
Bir garip seviştir bu bendeki

E                E7
Varsın olmasın haberin
          Am                        E
Kamaştırdığın onca çift gözün birinden
               E7                Am
Portakal ağaçları arasında bir kadın
                          D7       F
Paris'e fikrini değiştirtecek cinsten

End of song Play again?

Jan Soykök - Gözümün Önüne Düştüğün Zaman Tabs

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Harmony analysis

Jan Soykök – Gözümün Önüne Düştüğün Zaman: key and chord analysis

The song opens on C and ends on F. 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)
#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 C major side because it opens on C, C is heard 18 times against 2 for Am and the major V chord points straight at Am. That is an interpretation, not a rule — hearing the same chords from A minor is just as valid and teaches you something different.

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	16×
Imaj7	Cmaj7	Tonic — home	C · E · G · B	2×
ii7	Dm7	Supertonic — prepares the dominant	D · F · A · C	12×
ii	Dm	Supertonic — prepares the dominant	D · F · A	2×
V7/V	D7	Secondary dominant V/V — leads to Gsecondary dominant	D · F# · A · C	1×
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	2×
V7/vi	E7	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B · D	2×
IV	F	Subdominant — moves away from home	F · A · C	11×
V	G	Dominant — strongest pull home	G · B · D	6×
vi	Am	Relative minor — the melancholy side	A · C · E	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	2×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	16×
IIImaj7	Cmaj7	Relative major — the bright side	C · E · G · B	2×
iv7	Dm7	Subdominant — moves away from home	D · F · A · C	12×
iv	Dm	Subdominant — moves away from home	D · F · A	2×
IV7	D7	Major IV — Dorian / melodic-minor colourmodal colour	D · F# · A · C	1×
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	2×
V7	E7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B · D	2×
VI	F	Submediant — warm colour	F · A · C	11×
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). 10 different chords appear 56 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 / E7 is V/vi, a secondary dominant heading for Am. D7 acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

G C CV → Iauthentic cadence AmVII → III ×6
F C CIV → Iplagal cadence AmVI → III ×6
Dm7 G Cii7 → Vii → V Amiv7 → VII ×6
E7 Am CV7/vi → visecondary resolution AmV7 → iharmonic-minor cadence ×2

The move to watch is G → C, heard 6 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 C, land on C, E, G — the chord's own tones always sound right on strong beats.
Over Dm7, 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 C; the ear learns where home is within a second. C, Dm7, F, G carry the song: I–ii7–IV–V relative to C, III–iv7–VI–VII 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 F, 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.