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)
Cem Karaca - Kerkük Zindanı - Chord
Key C major – A minor Chords Dm, Em, G, Am, F, F7 Easy key G (capo 5)
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Key: C | Am
Capo: 0
Em G Kerkük'ün zindanına attılar beni Em Am Dm G Kerkük'ün zindanına attılar beni Am F Dm G F7 Dm Em Mazlumlar sürüsüne kattılar beni, kattılar beni Em Am Dm G Bir yanım dağladılar ateşle annem Am F Dm G F7 Dm Em Ne suçum ne günahım yaktılar beni, yaktılar beni Em Am Dm G Türkmen obalarından göçen anneler Am F Dm G F7 Dm Em Ne yuvaları kalmış ne de haneler, ne de haneler Em Am Dm G Gök kubbeyi sarsar mazlum feryadım Am F Dm G F7 Dm Em Elbette bir gün güler bize seneler, bize de seneler
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Cem Karaca - Kerkük Zindanı Tabs
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Harmony analysis
Cem Karaca – Kerkük Zindanı: 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.
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 8 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | — |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 12× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 9× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 4× |
| IV7 | F7 | Chromatic colour chordoutside the key | F · A · C · Eb | 4× |
| V | G | Dominant — strongest pull home | G · B · D | 9× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 8× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 8× |
| 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 | 12× |
| v | Em | Minor dominant — soft pull | E · G · B | 9× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 4× |
| VI7 | F7 | Chromatic colour chordoutside the key | F · A · C · Eb | 4× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 9× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 46 times in total; 5 of them sit naturally inside the shared scale. F7 step outside the scale as colour chords.
Chord movement
- Dm G Cii → Vii → V Amiv → VII ×8
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×4
- Em Am Ciii → vi Amv → inatural-minor cadence ×4
The move to watch is Dm → G, heard 8 times. From the Am side it is iv → VII; from the C side it reads ii → V (ii → V: the classic preparation of the dominant). 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- 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.
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
The song's harmonic story
Starting on Em, the song gives away its key from the very first bar. The chords that keep coming back are Dm, Em, G, Am; read them as ii–iii–V–vi in C or iv–v–VII–i in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → G (ii → V in C, iv → VII in Am): ii → V — the classic preparation of the dominant. It closes on Em, 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.
Cem Karaca - Kerkük Zindanı 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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