Fikret Dedeoğlu - Derdi Cebime - Chord

Key C major – A minor Chords Em7, Fmaj7, Dm7, Am7, G, F Difficulty already in its easiest key

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Capo 0

Fmaj7  Em7  Dm7  Em7  Fmaj7  Em7  Dm7  Am7

Am7                    Fmaj7      G
Ne güzel alışmıştım aşksız günlerime
Am7                     Fmaj7       G
Yalnızlık alışkanlık yapmıştı yüreğime

Am7  G  F  Dm7              Em7
Saaaayende  attı ki bu kalp güldü bu yüzüm
Fmaj7                Em7
Zehirli zehirli sözlerin
      Dm7           Fmaj7          Am7
Gerçekten hislerime de aşkına sevgine
    Dm7           Em7
İnanmaktı tek eksiğim
          Dm7           Em7 
Artık aşk hiç gelmese bile
         Fmaj7         Em7
Görmesem de yaşarım farzet
           Dm7
Ama senden bir başkasına
Em7     Fmaj7        Em7
Aynı gözle bakamam elbet
       Dm7          Em7
Kalbim çok ağlasa bile
          Fmaj7         G
Derdi cebime sanki kime ne
          Dm7           Em7
Sensizlik zor olsa da yine
           Fmaj7         Em7
Dönmem geriye alışırım elbet

Dm7  Em7  Fmaj7  Em7  Dm7  Em7  F  Am7

End of song Play again?

Fikret Dedeoğlu - Derdi Cebime Tabs

NotesX

Harmony analysis

Fikret Dedeoğlu – Derdi Cebime: key and chord analysis

The song opens on Fmaj7 and ends on Am7. 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 6 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	—
ii7	Dm7	Supertonic — prepares the dominant	D · F · A · C	11×
iii7	Em7	Mediant — a tonic-family shade	E · G · B · D	16×
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	11×
IV	F	Subdominant — moves away from home	F · A · C	2×
V	G	Dominant — strongest pull home	G · B · D	4×
vi7	Am7	Relative minor — the melancholy side	A · C · E · G	6×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i7	Am7	Tonic — home	A · C · E · G	6×
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	11×
v7	Em7	Minor dominant — soft pull	E · G · B · D	16×
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	11×
VI	F	Submediant — warm colour	F · A · C	2×
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). 6 different chords appear 50 times in total; 6 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

Fmaj7 G CIVmaj7 → VIV → V AmVImaj7 → VIIVI → VII ×3
G Am7 CV → vi7deceptive cadence AmVII → i7Aeolian arrival ×2
Dm7 Am7 Cii7 → vi7 Amiv7 → i7minor plagal ×1
Fmaj7 Am7 CIVmaj7 → vi7 AmVImaj7 → i7VI → i ×1
F Am7 CIV → vi7 AmVI → i7VI → i ×1

The move to watch is Fmaj7 → G, heard 3 times. From the Am side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic); from the C side it reads IVmaj7 → V (IV → V: the lift that builds tension before 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 Em7, land on E, G, B — 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.
Over Dm7, land on D, F, A — 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 Fmaj7, the song gives away its key from the very first bar. The backbone is Em7, Fmaj7, Dm7, Am7 — iii7–IVmaj7–ii7–vi7 from the C side, v7–VImaj7–iv7–i7 from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fmaj7 → G (IVmaj7 → V in C, VImaj7 → VII in Am): VI → VII — the rising step that heads for the tonic. It closes on Am7, 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.