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)
Çağan Şengül - Meydan Yeri (Vedat Özkaya) - Chord
Key C major – A minor Chords Em, F, Am, Dm, G Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Am F Em F
Am Em
Uzak şehrin birinde
Am Em
Teslim oldum bir mevsime
Dm Em
İçinden yağsın üstüme kar taneleri
G F Em
Avucumda baharlarla döneceğim
Am Em
Dudakların tenimde
Am Em
Böyle sevmek neyime
Dm Em
Bir başka mevsim elimde çiğ damlaları
G F Em
Saçlarından baharları öpeceğim
Em F
Am F
Ben meydan yeri sensiz akşamların
Em F
Ben ecel vakti bir kendime uğrarım
Am F
Ben kıyameti bütün sevişlerin
Em F
Ben ıssız çölü susuz aşıkların
Am Em
Bir tek sen tut elimden
Am Em
Fırtınan geçer, evimden
Dm Em
Kalbin uzaklaşırsa sesimi duyuramam
G F Em
Örterim üstünü sensiz uyuyamam
Am Em
Yalnız sen dur benimle
Am Em
İzlerin titrer telimde
Dm Em
Dilin dalgalarından başka kıyılara
G F Em
Savurursa beni yoksan boğulurum
Am F
Ben meydan yeri sensiz akşamların
Em F
Ben ecel vakti bir kendime uğrarım
Am F
Ben kıyameti bütün sevişlerin
Em F
Ben ıssız çölü susuz aşıkların
End of song Play again?
Çağan Şengül - Meydan Yeri (Vedat Özkaya) Tabs
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Harmony analysis
Çağan Şengül – Meydan Yeri (Vedat Özkaya): key and chord analysis
The song opens on Am and ends on F. Its chords belong to both C major and Am, so every chord below is read both ways.
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 13 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | — |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 4× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 22× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 15× |
| V | G | Dominant — strongest pull home | G · B · D | 4× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 13× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 13× |
| 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 | 4× |
| v | Em | Minor dominant — soft pull | E · G · B | 22× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 15× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 4× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 58 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 ×7
- F Am CIV → vi AmVI → iVI → i ×5
The move to watch is Em → Am, heard 7 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 F, land on F, A, C — 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
The first chord is Am; the ear learns where home is within a second. Em, F, Am, Dm carry the song: iii–IV–vi–ii relative to C, v–VI–i–iv 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 F; 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.
Çağan Şengül - Meydan Yeri (Vedat Özkaya) 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: Çağan Şengül
Vedat ÖzkayaMusic: Çağan Şengül
Vedat ÖzkayaArrangement: Vedat Özkaya
Vedat ÖzkayaMusic: Çağan Şengül
Vedat ÖzkayaArrangement: Vedat Özkaya
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