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)
Bulutsuzluk Özlemi - Güneye Giderken - Chord
Key C major – A minor Chords F, C, G, Am, Dm Easy key G (capo 5)
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Key: C | Am
Capo: 0
F G F C F G F C F C Zefir radyoları var ya briket duvarlarda F C Sesini duydum onlardan, sarındım akçora gömleğine Am G Uyu dedin uyudum, devam et dedi muavin F G C Am F G C Yolda güneş yükseliyordu, güneye giderken F G C Am F G C Solda güneş yükseliyordu, güneye giderken F C Sararmış tütün tarlası, ilerde beyaz yasmaklı F C Al basmadan giysisiyle kadınlar çalışıyorlar Am G Yüce dağlar ilerde mor en yükseği en önce gördü Dm G C Am Küçük bir çocuk yeni uyanmış, gözleri mahmur Dm G C Am Muavin de çocuktu, fakat uykusuzdu, bağırırken F C Bir köy var çok uzakta, beyazdan minaresi F C Kırmızı damlı evleriyle köyümüzdür varmasak da Am G Yanımda oturan belli ki oradan, bana biraz yandan baksa da
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Bulutsuzluk Özlemi - Güneye Giderken Tabs
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Harmony analysis
Bulutsuzluk Özlemi – Güneye Giderken: key and chord analysis
The song opens on F and ends on G. 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 C is heard 14 times against 7 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 | 14× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 2× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | — |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 14× |
| V | G | Dominant — strongest pull home | G · B · D | 11× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 7× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 7× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | 14× |
| iv | Dm | Subdominant — moves away from home | D · F · A | 2× |
| 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 | — |
| VI | F | Submediant — warm colour | F · A · C | 14× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 11× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 48 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- F C CIV → Iplagal cadence AmVI → III ×8
- G C CV → Iauthentic cadence AmVII → III ×6
- F G CIV → VIV → V AmVI → VIIVI → VII ×6
- Dm G Cii → Vii → V Amiv → VII ×2
The move to watch is F → C, heard 8 times. From the C side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Am side it is VI → III. 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 F, land on F, A, C — 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 G, land on G, B, D — 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
- 5 semitones down · capo 5 keeps the original pitch
- 2 semitones up
The song's harmonic story
The opening F lays a solid floor for everything that follows. The chords that keep coming back are F, C, G, Am; read them as IV–I–V–vi in C or VI–III–VII–i in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → C (IV → I in C, VI → III in Am): plagal cadence — the soft 'amen' ending. The final chord is G; 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.
Bulutsuzluk Özlemi - Güneye Giderken 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: Nejat YavaşoğullarıMusic: Nejat Yavaşoğulları
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