Nil İpek - Çocuk - Chord

Key C major – A minor Chords C, A7, F, G, Dm, C7, D7 Easy key G (capo 5)

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Capo 0

C
Yine çocuk gibiyim ne güzel şey
            A7         Dm
Hislerimi kar coğrafyayla
                 A7         F
Yine kedi gibiyim burnum pembe
G                          C 
Al beni gözlerimi ellerimi de 

C
Lütfen gel uykumu al sevgilim
               C7         F
Sana yeni bahçeler keşfettim
                D7           G
Göze bulutlar koyan hayaletleri
                       C
Zamanla bize dost belledim

C
Artık burası bizim bahçemiz
             A7         Dm
Biz ne istersek onu dikeriz
                A7      F
Çünkü burası bizim bahçemiz
G                       C 
Biz ne istersek onu dikeriz

C
Yine çocuk gibiyim ne güzel şey
            A7         Dm
Hislerimi kar coğrafyayla
                 A7         F
Yine kedi gibiyim burnum pembe
G                          C 
Al beni gözlerimi ellerimi de

C
Lütfen gel uykumu al sevgilim
               C7         F
Sana yeni bahçeler keşfettim
                D7           G
Göze bulutlar koyan hayaletleri
                       C
Zamanla bize dost belledim

End of song Play again?

Nil İpek - Çocuk Tabs

NotesX

Harmony analysis

Nil İpek – Çocuk: key and chord analysis

The song opens on C and ends on C. 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 it both starts and finishes on C and C is heard 12 times while Am never appears. 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	10×
V7/IV	C7	Secondary dominant V/IV — leads to Fsecondary dominant	C · E · G · Bb	2×
ii	Dm	Supertonic — prepares the dominant	D · F · A	3×
V7/V	D7	Secondary dominant V/V — leads to Gsecondary dominant	D · F# · A · C	2×
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	5×
V	G	Dominant — strongest pull home	G · B · D	5×
vi	Am	Relative minor — the melancholy side	A · C · E	—
V7/ii	A7	Secondary dominant V/ii — leads to Dmsecondary dominant	A · C# · E · G	6×
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	—
V7/iv	A7	Secondary dominant V/iv — leads to Dmsecondary dominant	A · C# · E · G	6×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	10×
V7/VI	C7	Secondary dominant V/VI — leads to Fsecondary dominant	C · E · G · Bb	2×
iv	Dm	Subdominant — moves away from home	D · F · A	3×
IV7	D7	Major IV — Dorian / melodic-minor colourmodal colour	D · F# · A · C	2×
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	—
VI	F	Submediant — warm colour	F · A · C	5×
VII	G	Subtonic — steps back to the tonic	G · B · D	5×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 33 times in total; 4 of them sit naturally inside the shared scale. A7, C7, D7 act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

G C CV → Iauthentic cadence AmVII → III ×5
A7 Dm CV7/ii → iisecondary resolution AmV7/iv → iv ×3
F G CIV → VIV → V AmVI → VIIVI → VII ×3
C7 F CV7/IV → IVsecondary resolution AmV7/VI → VI ×2
D7 G CV7/V → Vsecondary resolution AmIV7 → VII ×2

The move to watch is G → C, heard 5 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 A7, land on A, C#, E — 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

5 semitones down · capo 5 keeps the original pitch
2 semitones up

The song's harmonic story

Starting on C, the song gives away its key from the very first bar. The backbone is C, A7, F, G — I–V7/ii–IV–V from the C side, III–V7/iv–VI–VII from the Am side. A7 adds a moment of surprise: secondary dominant V/ii — leads to Dm. Keep an ear on G → C (V → I in C, VII → III in Am): authentic cadence — the strongest arrival home. It closes on C, 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.