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)
Güncel Gürsel Artıktay - Yakarım Geceleri - Chord
Key C major – A minor Chords Am, Dm, G, F, C, Bb, E Easy key G (capo 5)
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Key: C | Am
Capo: 0
Am Dm Am
Bu aşkın nüshası rüzgarlarda
G Am
Aslı bende kalacak
Am G
Bizi hasret saracak
Dm F Am
Bulutlar çıldıracak
Am Dm
Geçtim borandan kardan
G C
Yitirdim bahçeleri
Am G
Ellerimi tutmazsan gülüm
Dm F Am
Yakarım geceleri
Am Dm G C F Bb E Am
Am Dm Am
Bu aşkın nüshası rüzgarlarda
G Am
Kahrı bende kalacak
Am G
Sende ihanet gülüm
Dm F Am
Bende matem kalacak
Am Dm
Geçtim borandan kardan
G C
Yitirdim bahçeleri
Am G
Ellerimi tutmadın yar
Dm F Am
Yatamam geceleri
Bu aşkın efkarı şarkılarda
Hüzün bende solacak
Bizi zaman yenecek
Ve anılar kalacak
Ayrılık başımı döndürüyor
Kavuşmayı özlettin
İntiharlar kuşandım
Bu aşkı sen kirlettin
End of song Play again?
Güncel Gürsel Artıktay - Yakarım Geceleri Tabs
NotesX
Harmony analysis
Güncel Gürsel Artıktay – Yakarım Geceleri: 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)
- #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 it both starts and finishes on Am, Am is heard 18 times against 3 for C 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 | 3× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 9× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | 1× |
| IV | F | Subdominant — moves away from home | F · A · C | 5× |
| V | G | Dominant — strongest pull home | G · B · D | 9× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 18× |
| bVII | Bb | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | Bb · D · F | 1× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 18× |
| bII | Bb | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Bb · D · F | 1× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 3× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 9× |
| 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 | 1× |
| VI | F | Submediant — warm colour | F · A · C | 5× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 9× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 46 times in total; 5 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. Bb is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- F Am CIV → vi AmVI → iVI → i ×4
- G C CV → Iauthentic cadence AmVII → III ×3
- Dm G Cii → Vii → V Amiv → VII ×3
- Dm Am Cii → vi Amiv → iminor plagal ×2
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×2
- E Am CV/vi → vi AmV → iharmonic-minor cadence ×1
The move to watch is F → Am, heard 4 times. From the Am side it is VI → i (VI → i: falls a half step into home); from the C side it reads IV → 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, D — 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.
- On Bb, follow the chord's notes (Bb · D · F) rather than the key's scale — it's a borrowed colour.
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
Starting on Am, the song gives away its key from the very first bar. The backbone is Am, Dm, G, F — vi–ii–V–IV from the C side, i–iv–VII–VI 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 F → Am (IV → vi in C, VI → i in Am): VI → i — falls a half step into home. 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.
Güncel Gürsel Artıktay - Yakarım Geceleri 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: Yılmaz OdabaşıMusic: Ahmet KayaArrangement: Kerem Çakıroğlu
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