Duman - Farkımız Yok - Chord

Key C major – A minor Chords Am, C, Em, G, Fm, Bb, Bm, Dm Difficulty already in its easiest key

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Capo 0

Bm  Dm  Am  G
C  C  Am  Am

C                          Am
Bilirim seni ben kendimden bilirim
C                        Am
Farkımız yok senden ayrı değilim
C                          Am
Yaşarım dikine, düşe kalka giderim
C                        Am
Karnımız tok elaleme diz çökelim
             Em
Varsın olsun içelim
                  G
İçimizde ne varsa dökelim

C
Kal kalabilirsen
            Em
Burayı bize dar edebilirler
Am
İçimizdeki düşmanlar
Fm                    Bb
Dışımıza taş duvarlar örebilirler
C
Git gidebilirsen
       Em
Kendinden vazgeçebilirsen
Am
Kaçacak halimiz yok
   Fm              Bb
Bu topraklara bizi gömebilirler

Bm  Dm  Am  G
C  C  Am  Am

C                           Am
İnanırım kimine inanman ben bilirim
C                          Am
Aklımız yok cehalate boyun eğelim
C                          Am
Severim seni ben kalbimden severim
C                        Am
Derdimiz çok gel beraber çekelim
             Em
Varsın olsun içelim
                  G
İçimizde ne varsa dökelim

C
Kal kalabilirsen
            Em
Burayı bize dar edebilirler
Am
İçimizdeki düşmanlar
Fm                    Bb
Dışımıza taş duvarlar örebilirler
C
Git gidebilirsen
       Em
Kendinden vazgeçebilirsen
Am
Kaçacak halimiz yok
   Fm              Bb
Bu topraklara bizi gömebilirler

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Duman - Farkımız Yok Tabs

NotesX

Harmony analysis

Duman – Farkımız Yok: key and chord analysis

The song opens on Bm and ends on Bb. 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 Am is heard 18 times against 16 for C. 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	16×
ii	Dm	Supertonic — prepares the dominant	D · F · A	2×
iii	Em	Mediant — a tonic-family shade	E · G · B	6×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	—
iv	Fm	Minor iv — borrowed from the parallel minorborrowed chord	F · Ab · C	4×
V	G	Dominant — strongest pull home	G · B · D	4×
vi	Am	Relative minor — the melancholy side	A · C · E	18×
bVII	Bb	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	Bb · D · F	4×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—
vii	Bm	Chromatic colour chordoutside the key	B · D · F#	2×

Seen from A minor
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	4×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
ii	Bm	Chromatic colour chordoutside the key	B · D · F#	2×
III	C	Relative major — the bright side	C · E · G	16×
iv	Dm	Subdominant — moves away from home	D · F · A	2×
v	Em	Minor dominant — soft pull	E · G · B	6×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	—
vi	Fm	Chromatic colour chordoutside the key	F · Ab · C	4×
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). 8 different chords appear 56 times in total; 5 of them sit naturally inside the shared scale. Fm, Bb are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

G C CV → Iauthentic cadence AmVII → III ×4
Em Am Ciii → vi Amv → inatural-minor cadence ×4
Dm Am Cii → vi Amiv → iminor plagal ×2
Bb C CbVII → IbVII → I AmbII → III ×2

The move to watch is G → C, heard 4 times. From the Am side it is VII → III; from the C side it reads V → I (authentic cadence: the strongest arrival 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
On Fm, follow the chord's notes (F · Ab · C) 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

The song is already written in its easiest key for guitar.

The song's harmonic story

The first chord is Bm; the ear learns where home is within a second. Am, C, Em, G carry the song: vi–I–iii–V relative to C, i–III–v–VII relative to Am. Fm briefly darkens the picture: minor iv — borrowed from the parallel minor. Keep an ear on G → C (V → I in C, VII → III in Am): authentic cadence — the strongest arrival home. The final chord is Bb; 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.