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)
Harun Kolçak - Yanımda Kal (Gökhan Türkmen) - Chord
Key C major – A minor Chords Em, F, Dm, C, Am, F#m, G Difficulty already in its easiest key
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Key: C | Am
Capo: 0
F Em Dm Öyle savunmasız bir zamandı bulduğunda beni F Em Dm C Sen başlattın boyun eğdim kabullendim seni F Em Dm Bu sözlerim sitem değil ama yazık değil mi bana F Em Dm C Çok yalnızdım, kaybolmuştum, sığındım işte sana Am Kaygılarım yeniden uyanıyor Em Bu duygular beni ürkütüyor F Yeniden yaşamak mı gerekiyor Dm Em F F#m Yine acılar, yine korkular, yine aşk Am Em Yanımda kal, yanımda kal F Em Düşlerim yetmez ki bana Am Em Yanımda kal, yanımda kal Dm C Çok geç rastladım sana F Em Yanımda kal, yanımda kal Dm G Düşlerim yetmez ki bana F Em Yanımda kal, yanımda kal Dm C Çok geç rastladım sana
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Harun Kolçak - Yanımda Kal (Gökhan Türkmen) Tabs
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Harmony analysis
Harun Kolçak – Yanımda Kal (Gökhan Türkmen): key and chord analysis
The song opens on F and ends on C. 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 C major side because it comes to rest on C and C is heard 4 times against 3 for Am. That is an interpretation, not a rule — hearing the same chords from A minor is just as valid and teaches you something different.
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 | 4× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 8× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 11× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 9× |
| #iv | F#m | Chromatic colour chordoutside the key | F# · A · C# | 1× |
| V | G | Dominant — strongest pull home | G · B · D | 1× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 3× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 3× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 4× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 8× |
| v | Em | Minor dominant — soft pull | E · G · B | 11× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 9× |
| #vi | F#m | Chromatic colour chordoutside the key | F# · A · C# | 1× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 1× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 37 times in total; 6 of them sit naturally inside the shared scale. F#m step outside the scale as colour chords.
Chord movement
- Em Am Ciii → vi Amv → inatural-minor cadence ×1
- Dm G Cii → Vii → V Amiv → VII ×1
The move to watch is Em → Am, heard once. From the C side it reads iii → vi; from the Am side it is v → i (natural-minor cadence: gentle, modal arrival). 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 Em, land on E, G, B — 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.
- Over Dm, land on D, F, A — 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 F; the ear learns where home is within a second. Em, F, Dm, C carry the song: iii–IV–ii–I relative to C, v–VI–iv–III relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em → Am (iii → vi in C, v → i in Am): natural-minor cadence — gentle, modal arrival. It closes on C, letting the C side have the last word.
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.
Harun Kolçak - Yanımda Kal (Gökhan Türkmen) 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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