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)
Ece Seçkin - Yeşil Su - Chord
Key C major – A minor Chords G, Am, F, Dm Easy key G (capo 5)
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Key: C | Am
Capo: 0
Am F G Am F G
Am F G
Seni kaybetmeyi ne çok istedim ama yüreğim vermez
Am F G
Bu acım kadar hiç bir şey büyük olamaz ama gitgide kayboluyor
Dm G
Bir adım bana gel ya da kendine git ama sussun bu beden
F Am
İnsan boş yere felsefe yapmayı ne çok seviyor
Am F G
Yeni fark ettim ama kaç seneden beri bir güzel anım yok
Am F G
Git gel başa dön yeniden başa dön buna fazla zamanım yok
Dm G
Bir adım geliver yeniden gülüver bana kelimeler coşsun
F Am
Ben sabrederim ama sen sevgi kadar isyan dolusun
Am F G
O derin yeşil su gözleri batsın ya da ben
Am F G
Beni kaybeden vicdansız utansın
Dm G
Bir ömür peşinde pervane gibi bu beden
F G Am
Beni sevmeyen o kalpsiz utansın
Am F G
Çıldırdım kendimi yollara attım hüzünden
Am F G
Aşkın bana tek yararı bu
Dm G
İnsanlar ayrılıyor hep bu kavga yüzünden
F G Am
Benden seni koparan da bu
End of song Play again?
Ece Seçkin - Yeşil Su Tabs
NotesX
Harmony analysis
Ece Seçkin – Yeşil Su: key and chord analysis
The song opens on Am and ends on Am. 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 14 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 | — |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 4× |
| 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 | 14× |
| V | G | Dominant — strongest pull home | G · B · D | 16× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 14× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 14× |
| 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 | 4× |
| 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 | 14× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 16× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 48 times in total; 4 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
- F G CIV → VIV → V AmVI → VIIVI → VII ×12
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×8
- Dm G Cii → Vii → V Amiv → VII ×4
- F Am CIV → vi AmVI → iVI → i ×2
The move to watch is F → G, heard 12 times. From the Am side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the C side it reads IV → 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 G, land on G, B, D — 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 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
The song's harmonic story
The first chord is Am; the ear learns where home is within a second. The chords that keep coming back are G, Am, F, Dm; read them as V–vi–IV–ii in C or VII–i–VI–iv in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → G (IV → V in C, VI → VII in Am): VI → VII — the rising step that heads for the tonic. The final chord is Am; 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.
Ece Seçkin - Yeşil Su 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: Serdar OrtaçMusic: Serdar OrtaçArrangement: Nurettin Çolak
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