Yaşar - Aldanırım - Chord

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

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Capo 0

Em         G   Em      G
Bu bir yalan bu bir ceza
Em       F          G         Em
Bu bir talan gönlüm bu bir veda
Em         G  Em      G
Ne bir tavır ne bir eda
Em      F           G         Em
Tutup savur gönlüm bu son elveda
Em                            G F Em
Hatırlarım hiç gidemem deyişini
Em                           G F Em
Hatırlarım erken ölürüm deyişini
Am                        G            F
Aldanırım ben zaten gülüşüne ahh gülüşüne
 
Am         G         F          Em
Aldanırım aldanırım aldanırım gülüşüne
 
Em            F
Bu bir yalan bu bir ceza
F                    G
Bu bir talan gönlüm bu
F          G      F     Em
Bu son elveda aşk değil keza
Em                Am
Ne bir tavır ne bir eda
  F                         Em
Savur savrul gönlüm bu bu son elveda
 
Am        G         F           Em
Aldanırım aldanırım aldanırım ben sana
 
Em        G    Em       G
Bu her mevsim söyler misin
Em      F         G        Em
Mecbur eden buna yar sen misin
Em     G   Em    G
Soran beni yarım bulur
Em           F            G    Em
Sen bir tek gül ey yar tamam olur
Em                          G F
Hatırlarım hiç gidemem deyişini
Em                          G F
Hatırlarım erken ölürüm deyişini
Am                      G              F
Aldanırım ben zaten gülüşüne ahh gülüşüne
Am         G         F          Em
Aldanırım aldanırım aldanırım gülüşüne

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Yaşar - Aldanırım Tabs

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Harmony analysis

Yaşar – Aldanırım: key and chord analysis

The song opens on Em and ends on Em. 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 6 times while C never appears. 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	—
ii	Dm	Supertonic — prepares the dominant	D · F · A	—
iii	Em	Mediant — a tonic-family shade	E · G · B	29×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	18×
V	G	Dominant — strongest pull home	G · B · D	23×
vi	Am	Relative minor — the melancholy side	A · C · E	6×
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	6×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	—
iv	Dm	Subdominant — moves away from home	D · F · A	—
v	Em	Minor dominant — soft pull	E · G · B	29×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	18×
VII	G	Subtonic — steps back to the tonic	G · B · D	23×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 76 times in total; 4 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 G CIV → VIV → V AmVI → VIIVI → VII ×6
Em Am Ciii → vi Amv → inatural-minor cadence ×3
F Am CIV → vi AmVI → iVI → i ×3

The move to watch is F → G, heard 6 times. From the Am side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the C side it reads IV → V (IV → V: the lift that builds tension before 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 Em, land on E, G, B — 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 F, land on F, A, C — 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 Em; the ear learns where home is within a second. The chords that keep coming back are Em, G, F, Am; read them as iii–V–IV–vi in C or v–VII–VI–i in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → G (IV → V in C, VI → VII in Am): VI → VII — the rising step that heads for the tonic. Ending on Em, the song seals C 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.