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)
İlyas Yalçıntaş - Darmadağın - Chord
Key C major – A minor Chords Dm7, Em7, Am7, Am, G, Fmaj7, Dm, F Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Am G
Bitmez bitmez bu işkence
Dm G
Kal desemde sonunu görmesekte
F G Am
Yıkılan gemileri yelkenleri koy önüme
Dm7 Em7
Sana ait ne varsa gelsin bu gece
Am
Derin bir yaran varsa o bir kapıdır bize
Dm7 Em7
Çok eski bir öykün varsa masaldır yine
Am7 Fmaj7
Benim için sus son bir defa dinle
Dm7 Em7 Am7
Üstüm başım kalbim yorgun darmadağın
Am7 Fmaj7
Benim için dur nolursun gitme
Dm7 Em7 Am7
Acı verir yine yokluğun
End of song Play again?
İlyas Yalçıntaş - Darmadağın Tabs
NotesX
Harmony analysis
İlyas Yalçıntaş – Darmadağın: key and chord analysis
The song opens on Am and ends on Am7. 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 both starts and finishes on Am and Am is heard 7 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 | 4× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 1× |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 4× |
| 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 | 2× |
| IV | F | Subdominant — moves away from home | F · A · C | 1× |
| V | G | Dominant — strongest pull home | G · B · D | 3× |
| vi7 | Am7 | Relative minor — the melancholy side | A · C · E · G | 4× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 3× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Am7 | Tonic — home | A · C · E · G | 4× |
| i | Am | Tonic — home | A · C · E | 3× |
| 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 | 4× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 1× |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 4× |
| 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 | 2× |
| VI | F | Submediant — warm colour | F · A · C | 1× |
| 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 22 times in total; 8 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
- Em7 Am7 Ciii7 → vi7 Amv7 → i7natural-minor cadence ×3
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×1
- Dm G Cii → Vii → V Amiv → VII ×1
- F G CIV → VIV → V AmVI → VIIVI → VII ×1
- Em7 Am Ciii7 → vi Amv7 → inatural-minor cadence ×1
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 Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over Am7, land on A, C, E — 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 Am, the song gives away its key from the very first bar. Dm7, Em7, Am7, Am carry the song: ii7–iii7–vi7–vi relative to C, iv7–v7–i7–i relative to 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. The final chord is Am7; the ear comes to rest in Am.
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.
İlyas Yalçıntaş - Darmadağın 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: Bünyas HerekMusic: Bünyas HerekArrangement: Bünyas Herek
Alişan Göksu
Alişan Göksu
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