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)
Ercan Saatçi - Kara Kışlar - Chord
Key C major – A minor Chords Em7, Dm7, Fmaj7, Am7, Gm7, Gm Easy key G (capo 5)
No ratings yet
or your user informations
Make it yours
Text size
Key: C | Am
Capo: 0
Am7 Dm7 Em7 Em7
Dm7 Gm7 Fmaj7 Em7
Em7 Dm7
Bilsen ne çok şeydin sen
Fmaj7 Em7
Yazık ki aynıydı her giden
Dm7
Yok ah kalbim yok
Fmaj7 Em7
Sevgiler çok insafsız yarını yok
Am7 Fmaj7
Ağlarım gün geçmez ağlarım
Em7 Dm7 Em7
Öfkeyle sustum diye ardından
Am7 Fmaj7
Kaybolur gibiydi yüreğim
Em7 Dm7 Em7
Öyle derin ve öyle kederli
Am7 Dm7 Em7
Çok kara kışlar gördüm ben yine pes etmedim
Dm7 Gm Fmaj7 Em7
Çok ayrılıklar gördüm ben yine yenilmedim
End of song Play again?
Ercan Saatçi - Kara Kışlar Tabs
NotesX
Harmony analysis
Ercan Saatçi – Kara Kışlar: key and chord analysis
The song opens on Am7 and ends on Em7. 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 4 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 | — |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 8× |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 12× |
| 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 | 6× |
| V | G | Dominant — strongest pull home | G · B · D | — |
| v7 | Gm7 | Chromatic colour chordoutside the key | G · Bb · D · F | 1× |
| v | Gm | Chromatic colour chordoutside the key | G · Bb · D | 1× |
| vi7 | Am7 | Relative minor — the melancholy side | A · C · E · G | 4× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Am7 | Tonic — home | A · C · E · G | 4× |
| 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 | 8× |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 12× |
| 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 | 6× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | — |
| vii7 | Gm7 | Chromatic colour chordoutside the key | G · Bb · D · F | 1× |
| vii | Gm | Chromatic colour chordoutside the key | G · Bb · D | 1× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 32 times in total; 4 of them sit naturally inside the shared scale. Gm7, Gm step outside the scale as colour chords.
Chord movement
- Em7 Am7 Ciii7 → vi7 Amv7 → i7natural-minor cadence ×3
The move to watch is Em7 → Am7, heard 3 times. From the Am side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the C side it reads iii7 → vi7. 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 Em7, land on E, G, B — 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 Fmaj7, land on F, A, C — 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
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
The first chord is Am7; the ear learns where home is within a second. The chords that keep coming back are Em7, Dm7, Fmaj7, Am7; read them as iii7–ii7–IVmaj7–vi7 in C or v7–iv7–VImaj7–i7 in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em7 → Am7 (iii7 → vi7 in C, v7 → i7 in Am): natural-minor cadence — gentle, modal arrival. 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.
Ercan Saatçi - Kara Kışlar 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Ercan SaatçiMusic: Ercan Saatçi
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.