Edis - Perişanım - Chord

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

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Capo 0

G  Am  Bm  D  C

G     Am
  Perişanım
Bm                   D     C
 Ne tadım kaldı ne iştahım
G                      Am
Telefonda yok ki senin çağrın
Bm                      D     C
Nasıl kaldın böyle serinkanlı

             C   Em      C
Ben de dua ettim tanrıma
              Em     F
Bakamam dedi icabına
                 Em         C
Senden daha iyi ilaç mı var
                    Em
Bütün olanlar gitti ağrıma

  Em         C
Kayıp yönüm adım günüm
  Em           F
Nedir bilmem nasıl dünüm
Em
Kaygılarım tavan
C
Elimde tek kalan
   Em
Sözlerindeki yalan
   F              Em
Ve koca bir yalnızlık

C                    Em
Nasıl oldun bir yabancı
F                     Em
Dün yatağımda biri yattı
C                  Em
Senden daha tanıdıktı

F                     Em
Kahrımdan her gece sızdım
C                   Em
Uyandım hep sana kızdım
F                    Em
Her güne bir çizik attım
C                 Em  F
Zaman çok acımasızdı

Em           C
Sabah saat 6 telefonu elimden
Em              F
Düşürmedim yine bozdum bak yeminler
Em
Uğraşsam da bir şey gelmiyor elimden

F
Sabah saat 6 telefonu elimden
Dm
Düşürmedim yine bozdum bak yeminler
Am
Nefret ettiklerim yaptı bak beni ben

             C   Em      C
Ben de dua ettim tanrıma
              Em     F
Bakamam dedi icabına
                 Em         C
Senden daha iyi ilaç mı var
                    Em
Bütün olanlar gitti ağrıma

      C   Em      C
Dua ettim tanrıma
              Em     F
Bakamam dedi icabına
                 Em         C
Senden daha iyi ilaç mı var
                    Em
Bütün olanlar gitti ağrıma

Em
Düştüğüm her anda
C
Vurdun bana pranga
Em                     F
Çekiştirip durdun kukla gibi soldan sağdan
Em
Çıktım artık yoldan
C
Geçmiyor travmam
Em                  F
Aynı günü yaşıyorum hep aynı drama

End of song Play again?

Edis - Perişanım Tabs

NotesX

Harmony analysis

Edis – Perişanım: key and chord analysis

The song opens on G 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C major side because C is heard 21 times against 4 for 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	21×
ii	Dm	Supertonic — prepares the dominant	D · F · A	1×
V/V	D	Secondary dominant V/V — leads to Gsecondary dominant	D · F# · A	3×
iii	Em	Mediant — a tonic-family shade	E · G · B	31×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	13×
V	G	Dominant — strongest pull home	G · B · D	3×
vi	Am	Relative minor — the melancholy side	A · C · E	4×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—
vii	Bm	Chromatic colour chordoutside the key	B · D · F#	3×

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	4×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
ii	Bm	Chromatic colour chordoutside the key	B · D · F#	3×
III	C	Relative major — the bright side	C · E · G	21×
iv	Dm	Subdominant — moves away from home	D · F · A	1×
IV	D	Major IV — Dorian / melodic-minor colourmodal colour	D · F# · A	3×
v	Em	Minor dominant — soft pull	E · G · B	31×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	13×
VII	G	Subtonic — steps back to the tonic	G · B · D	3×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 8 different chords appear 79 times in total; 6 of them sit naturally inside the shared scale. D acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

G Am CV → videceptive cadence AmVII → iAeolian arrival ×3
Dm Am Cii → vi Amiv → iminor plagal ×1

The move to watch is G → Am, heard 3 times. From the C side it reads V → vi (deceptive cadence: expected C, lands on Am); from the Am side it is VII → i (Aeolian arrival: rises a whole tone into home). 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 C, land on C, E, G — 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.

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 G, the song gives away its key from the very first bar. The backbone is Em, C, F, Am — iii–I–IV–vi from the C side, v–III–VI–i from the Am side. D adds a moment of surprise: secondary dominant V/V — leads to G. Keep an ear on G → Am (V → vi in C, VII → i in Am): deceptive cadence — expected C, lands on Am. 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.