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)
Can Bonomo - Acı Kiraz - Chord
Key C major – A minor Chords Dm, Am, E Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Dm Dm
Am Dm
Gündüz uykulardayım, gece başlar sancılar
Am Dm
Durmadan firardayım, sırtımdan inmez acılar
Am E Am
Hep aldattım, aldattım, onlar anlamadılar
Dm Am E Am
Hep aldattım, aldattım, onlar anlamadılar
Dm
Ben acı kiraz tanı beni
Am
Bana şarkılar söyle biraz
Dm
Ben kara beyaz
E
Her işim ters, dünyam yalan
Dm
Ben deli mayın
Am
Etrafımdan dönüp aldanmayın
Dm
Dilimden kurtulan
E
Ya şiirdir ya da yalan
Dm Am Dm E
Am Dm
Dikenleri batan gülüm, bugünleri yakan dünüm
Am Dm
Yandı söndü kan dilim, düşmanları sokan dilim
Am E Am
Hep kanattım, kanattım onlar ağlamadılar
Dm Am E Am
Hep kanattım, kanattım onlar ağlamadılar
Dm
Ben acı kiraz tanı beni
Am
Bana şarkılar söyle biraz
Dm
Ben kara beyaz
E
Her işim ters, dünyam yalan
Dm
Ben deli mayın
Am
Etrafımdan dönüp aldanmayın
Dm
Dilimden kurtulan
E
Ya şiirdir ya da yalan
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Can Bonomo - Acı Kiraz Tabs
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Harmony analysis
Can Bonomo – Acı Kiraz: key and chord analysis
The song opens on Dm and ends on E. 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)
- #7 = G# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the A minor side because Am is heard 17 times while C never appears and the major V chord points straight at Am. 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 | 18× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | 9× |
| IV | F | Subdominant — moves away from home | F · A · C | — |
| V | G | Dominant — strongest pull home | G · B · D | — |
| vi | Am | Relative minor — the melancholy side | A · C · E | 17× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 17× |
| 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 | 18× |
| 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 | 9× |
| VI | F | Submediant — warm colour | F · A · C | — |
| VII | G | Subtonic — steps back to the tonic | G · B · D | — |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 3 different chords appear 44 times in total; 2 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E is V/vi, a secondary dominant heading for Am.
Chord movement
- Dm Am Cii → vi Amiv → iminor plagal ×12
- E Am CV/vi → vi AmV → iharmonic-minor cadence ×5
- Dm E Cii → V/vi Amiv → Viv → V ×5
The move to watch is Dm → Am, heard 12 times. From the Am side it is iv → i (minor plagal: deep and melancholic); from the C side it reads ii → 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 Dm, land on D, F, A — 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.
- Over E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- When E comes, swap the scale's G for G#: that single note is the harmonic-minor sound of the chord.
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 Dm, the song gives away its key from the very first bar. The backbone is Dm, Am, E — ii–vi–V/vi from the C side, iv–i–V from the Am side. E is the interesting twist: in C it is a chromatic chord (V/vi), while in Am it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Dm → Am (ii → vi in C, iv → i in Am): minor plagal — deep and melancholic. The final chord is E; 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.
Can Bonomo - Acı Kiraz 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: Can BonomoMusic: Can BonomoArrangement: Can Saban
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