Can Kazaz - Geriye Dönmeyince - Chord

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

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Capo 0

Am   D   Em
Am            G              Dm         C
Kimbilir ben kaç kere minnet ettim yağmura
G                       Am
Ağladığımı gizlediği için
Am            G             Dm         C
Kimbilir ben kaç kere aşık oldum yollara
G                         Am
Gittiğim yerden dönmemek için
C            G                   Am
Bu şehrin duvarları törpüler tırnakları
C           G                    Am
Sırtlarına yük oldu, köprüler ırmakların

Am            G         Am          G
Gidersem ben yalvarırım peşimden gelme
   C           Dm         C      G       Am 
Annem babam da ağlamasın geriye dönmeyince
Am            G          Am          G
Gidersem ben yalvarırım peşimden gelme
    C          Dm         C     G      Am 
Hiçbir sebebe bağlamayın geriye dönmeyince

Am            G             Dm         C
Kimbilir ben kaç kere gömüldüm kitaplara
G                       Am
Yalanları görebilmek için
Am            G             Dm         C
Kimbilir ben kaç kere şaşırdım insanlara
G                         Am
Biraz daha tek yaşamak için
C            G                   Am
Bu şehrin duvarları törpüler tırnakları
C          G                     Am
Sırtlarına yük oldu, köprüler ırmakların

End of song Play again?

Can Kazaz - Geriye Dönmeyince Tabs

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Harmony analysis

Can Kazaz – Geriye Dönmeyince: 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.

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 it both starts and finishes on Am and Am is heard 19 times against 12 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	12×
ii	Dm	Supertonic — prepares the dominant	D · F · A	6×
V/V	D	Secondary dominant V/V — leads to Gsecondary dominant	D · F# · A	1×
iii	Em	Mediant — a tonic-family shade	E · G · B	1×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	—
V	G	Dominant — strongest pull home	G · B · D	18×
vi	Am	Relative minor — the melancholy side	A · C · E	19×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	19×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	12×
iv	Dm	Subdominant — moves away from home	D · F · A	6×
IV	D	Major IV — Dorian / melodic-minor colourmodal colour	D · F# · A	1×
v	Em	Minor dominant — soft pull	E · G · B	1×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	—
VII	G	Subtonic — steps back to the tonic	G · B · D	18×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 57 times in total; 5 of them sit naturally inside the shared scale. D acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

G Am CV → videceptive cadence AmVII → iAeolian arrival ×12
G C CV → Iauthentic cadence AmVII → III ×2
Em Am Ciii → vi Amv → inatural-minor cadence ×1

The move to watch is G → Am, heard 12 times. From the Am side it is VII → i (Aeolian arrival: rises a whole tone into home); from the C side it reads V → vi (deceptive cadence: expected C, lands on Am). 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 G, land on G, B, D — 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.

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 Am; the ear learns where home is within a second. The chords that keep coming back are Am, G, C, Dm; read them as vi–V–I–ii in C or i–VII–III–iv in Am. D adds a moment of surprise: secondary dominant V/V — leads to G. Keep an ear on G → Am (V → vi in C, VII → i in Am): Aeolian arrival — rises a whole tone into home. Ending on Am, the song seals Am as home.

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.