Reynmen - Kaçamak (Ufo 361) - Chord

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

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Capo 0

F  Dm  Em  Am

F                Dm   Em   Am
Yaşamak değil ki bu
F                 Dm   Em   Am
Kaçamak yaptım bi dur

F                Dm           Em
Yaşamak değil ki bu her yol yokuş
         Am
Sorunlar sur gibi büyük burda
F                 Dm
Kaçamak yaptım bi dur
         Em           Am
Sen anca kur, kafanda kur

F     Dm
Keşke ben de böyle olsam
Em                       Am
Bilmeden kırılsam yalnız kaldım hep sanırsam
       F                     Dm
Döndüm kendi enkazıma şöhret doldu etrafıma
        Em
Kafamda dolu tonla soru bak, bunun sonu ne olacak

F                      Dm
Düzeltmem gerek bu işi düzeltmem gerek
      Em                    Am
Çünkü düşersem bi gün etmez kimse merhamet
F                          Dm
Tüm yanlışlara rağmen hala gülümseyerek
        Em                 Am
Ya barışmam gerek ya savaşmam gerek

F                     Dm
Früher war ich in den Streets
     Em
Ohne Racks
              Am
Immer nur das Team dabei

F                     Dm
Heute fahr ich in nem Benz
          Em
Und zähle Cash 
              Am
Aber kann mit niemandem teilen

F  Dm  Em  Am

Früher Birthdays dicker ohne Torte
Dicker heute fahr ich im Porsche 
Früher wollte mir keiner zuhören nein
Heute Rich Rich durch meine Worte 
Trage Celine 
Hab keine Zeit für die Fam
Ja was bringt mir ne Patek Phillipe
Frosted AP 
Verbrenne ein Stapel vom Money ja 
Gib mir Benzin 
Ohne mich wärt ihr immernoch auf Boom bap Future nicht Wu Tang 
Stay High dicker Crew Chain 

Ja es war ein Long Way Long Way 
Ja ich Acker All day All day

End of song Play again?

Reynmen - Kaçamak (Ufo 361) Tabs

NotesX

Harmony analysis

Reynmen – Kaçamak (Ufo 361): key and chord analysis

The song opens on F and ends on Am. 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 comes to rest on Am and Am is heard 11 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	12×
iii	Em	Mediant — a tonic-family shade	E · G · B	12×
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	—
vi	Am	Relative minor — the melancholy side	A · C · E	11×
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	11×
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	12×
v	Em	Minor dominant — soft pull	E · G · B	12×
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	—

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 47 times in total; 4 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 ×11

The move to watch is Em → Am, heard 11 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 F, land on F, A, C — 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 Em, 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 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 F, the song gives away its key from the very first bar. F, Dm, Em, Am carry the song: IV–ii–iii–vi relative to C, VI–iv–v–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. It closes on Am, letting the Am 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.