Amo988 - Sar Zamanımızı Geriye - Chord

Key Eb major – C minor Chords Cm, Gm, Abmaj7, Bb, Fm, G7 Easy key C (capo 3)

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Capo 0

Cm
Sar zamanımızı bi’ geriye
        Abmaj7          Gm
Geriye, geriye en güzel yerine
                      Cm
Yıprattın kendini de, beni de
         Abmaj7
Benim düşlerimde
           Gm
Hep sensin her gece

        Bb            Fm
Yangınlarında ben kül olayım, olayım
Gm                   Cm      Bb      Abmaj7
Dönsen de gözlerinde kendimi bulayım

                   Cm
Sar zamanımızı bi’ geriye
        Abmaj7          Gm
Geriye, geriye en güzel yerine
                      Cm
Yıprattın kendini de, beni de
         Abmaj7
Benim düşlerimde
           Gm
Hep sensin her gece

        Bb            Fm
Yangınlarında ben kül olayım, olayım
Gm                   Cm      Bb      Abmaj7
Dönsen de gözlerinde kendimi bulayım

                   Cm
Sar zamanımızı bi’ geriye
        Bb              Abmaj7
Geriye, geriye en güzel yerine

Gm                           Cm
Seni kaybederim diye ben çok korktum

Gözlerimi bi’ açtım, yoksun
                       Gm
Bana bunu niye yaptın, oldu mu?

Sana değil, ben kendime sordum
                    Abmaj7
“Dinle beni” dedin, dinledim

Sadece anlaşılmak istedin
                   Gm
Her şey yaptım ama yetmedi
        G7
Hepsi bahane

                   Cm
Sar zamanımızı bi’ geriye
        Abmaj7          Gm
Geriye, geriye en güzel yerine
                      Cm
Yıprattın kendini de, beni de
         Abmaj7
Benim düşlerimde
           Gm
Hep sensin her gece

        Bb            Fm
Yangınlarında ben kül olayım, olayım
Gm                   Cm      Bb      Abmaj7
Dönsen de gözlerinde kendimi bulayım

                   Cm
Sar zamanımızı bi’ geriye
        Bb              Abmaj7
Geriye, geriye en güzel yerine

Gm                      Cm
Ben tüm hatayı kendimde aradım hep
                  
Kırdın sen, teşekkür ettim de
                    Gm
Yanlışı sen yaptın, özrünü diledim ben
                            Cm
Haberin yok kederimden, ben sustum hep

Hayatımın oyunu son bir el
                   Gm
Seni üzmek gelmedi be içimden
            G7
Seni hiç kaybedemem ben

                   Cm
Sar zamanımızı bi’ geriye
        Abmaj7          Gm
Geriye, geriye en güzel yerine
                      Cm
Yıprattın kendini de, beni de
         Abmaj7
Benim düşlerimde
           Gm
Hep sensin her gece

        Bb            Fm
Yangınlarında ben kül olayım, olayım
Gm                   Cm      Bb      Abmaj7
Dönsen de gözlerinde kendimi bulayım

                   Cm
Sar zamanımızı bi’ geriye
        Bb              Abmaj7
Geriye, geriye en güzel yerine

End of song Play again?

Amo988 - Sar Zamanımızı Geriye Tabs

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Harmony analysis

Amo988 – Sar Zamanımızı Geriye: key and chord analysis

The song opens on Cm and ends on Abmaj7. Its chords belong to both Eb major and Cm, so every chord below is read both ways.

Major view

Eb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = D (leading tone, pulls home)
4 = Ab (the note that leans on the 3rd)

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (natural-minor colour)
#7 = B (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 C minor side because it opens on Cm, Cm is heard 18 times while Eb never appears and the major V chord points straight at Cm. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	—
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	4×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	18×
V7/vi	G7	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D · F	2×
IVmaj7	Abmaj7	Subdominant — moves away from home	Ab · C · Eb · G	16×
V	Bb	Dominant — strongest pull home	Bb · D · F	11×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	18×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	18×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	—
iv	Fm	Subdominant — moves away from home	F · Ab · C	4×
v	Gm	Minor dominant — soft pull	G · Bb · D	18×
V7	G7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D · F	2×
VImaj7	Abmaj7	Submediant — warm colour	Ab · C · Eb · G	16×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	11×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 69 times in total; 5 of them sit naturally inside the shared scale. The major V of Cm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Eb, the same G7 is V7/vi, a secondary dominant heading for Cm.

Chord movement

Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×11
Abmaj7 Cm EbIVmaj7 → vi CmVImaj7 → iVI → i ×4
G7 Cm EbV7/vi → visecondary resolution CmV7 → iharmonic-minor cadence ×2

The move to watch is Gm → Cm, heard 11 times. From the Cm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Eb side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Abmaj7, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
When G7 comes, swap the scale's Bb for B: 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 Eb major shapes

Capo 1 + D shapes
Capo 3 + C shapes
Capo 6 + A shapes

With C minor shapes

Capo 3 + Am shapes

Easiest keys on guitar

3 semitones down · capo 3 keeps the original pitch
4 semitones up

The song's harmonic story

The first chord is Cm; the ear learns where home is within a second. The backbone is Cm, Gm, Abmaj7, Bb — vi–iii–IVmaj7–V from the Eb side, i–v–VImaj7–VII from the Cm side. G7 is the interesting twist: in Eb it is a chromatic chord (V7/vi), while in Cm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Gm → Cm (iii → vi in Eb, v → i in Cm): natural-minor cadence — gentle, modal arrival. The final chord is Abmaj7; the ear comes to rest in Eb.

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.