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)
Zakkum - Al Gece Yarılarımı Benden - Chord
Key C major – A minor Chords Em, Am, Dm, G Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Am
Bilir misin?
Em
Gözünü tavana dikip saatlerce bakmayı
Am
Bilir misin?
Em
Takvim nedir mevsim nedir unutmayı
Dm
Bilir misin?
G
Hayatta mıyım diye nabza parmak basmayı
Am
Al gece yarılarımı benden
Em
Al çıkmaz sokaklarımı
Dm
Al hepsini senin olsun
G Em
Bir de sen tat onları
Am
Al bu ağrıyı benden
Em
Al aslan sütü akşamlarımı
Dm
Al hepsini senin olsun
G Em
Bir de sen yaşa onları
Am Em Dm G Em
Sen bileğimde akan zaman
Sen kapımı anahtarsız açan
Sen ismi ağzımı yakan
Sen buldukça kaybettiğim
Yürüdükçe uzayan yolum
Sen yağmurumu taşıyan bulut
Ayazını beklediğim sabah
Sen salıncak kurduğum ağaç
Sen hayatımın tek sesi
Sen yanağımı acıtan soğuk
Sen dalgın yürüyüşlerim
Sen canlı çıktığım yangın
Sen ertelediğim acelem
Sen içtikçe susadığım
Sen düşersem açılan kanat
Sen yazdıkça uzayan şarkım
Sen dört mevsim melezim
Sen perdemi delen güneş
Sen
End of song Play again?
Zakkum - Al Gece Yarılarımı Benden Tabs
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Harmony analysis
Zakkum – Al Gece Yarılarımı Benden: key and chord analysis
The song opens on Am 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 it opens on Am and Am is heard 5 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 | 4× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 8× |
| 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 | 4× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 5× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 5× |
| 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 | 4× |
| v | Em | Minor dominant — soft pull | E · G · B | 8× |
| 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 | 4× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 21 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
- Dm G Cii → Vii → V Amiv → VII ×4
- Em Am Ciii → vi Amv → inatural-minor cadence ×3
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×1
The move to watch is Dm → G, heard 4 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 Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over Am, land on A, C, E — 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
Starting on Am, the song gives away its key from the very first bar. The backbone is Em, Am, Dm, G — iii–vi–ii–V from the C side, v–i–iv–VII from the Am side. 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. The final chord is Em; 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.
Zakkum - Al Gece Yarılarımı Benden 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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