Teoman - Sahilde Bir Sarhoş - Chord

Key C major – A minor Chords C, F, Gm, Em, Dm, G Easy key D

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Capo 0

C                                 F        C
Upuzun, sapsarı, kupkuru, bir sahilde yürüyorum
                                        F              C
Martılar gülüşürken çığlık çığlığa ben gözyaşımdan içiyorum  
                    F              Gm            C
Kalbim kırık, bugün bütün şişeleri kendime açıyorum
                   F          Gm             C         
Karışmasın kimsecikler, daha düşmedim, uçuyorum     

F                     Em
Ah kaldı gözlerimde tuzuyla o sevgili
Dm                  C
Hatırası kamburumda kahrediyor beni
F                Em
Eski anılardan birkaç resmiyle
Dm      G          C     G
Bense bu sahilde bir sarhoş

C                                 F        C
Upuzun, sapsarı, kupkuru, bir sahilde ölüyorum
                                      F              C
Dalgalar çarpışır çığlık çığlığa ben gözyaşımdan içiyorum  
                    F              Gm            C
Kalbim kırık, bugün bütün şişeleri kendime açıyorum
                    F        Gm            C         
Karışmasın kimsecikler daha düşmedim, uçuyorum

End of song Play again?

Teoman - Sahilde Bir Sarhoş Tabs

NotesX

Harmony analysis

Teoman – Sahilde Bir Sarhoş: key and chord analysis

The song opens on C and ends on C. 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 C major side because it both starts and finishes on C and C is heard 12 times while Am never appears. 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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	12×
ii	Dm	Supertonic — prepares the dominant	D · F · A	2×
iii	Em	Mediant — a tonic-family shade	E · G · B	2×
III	E	Chromatic colour chordoutside the key	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	10×
V	G	Dominant — strongest pull home	G · B · D	2×
v	Gm	Chromatic colour chordoutside the key	G · Bb · D	4×
vi	Am	Relative minor — the melancholy side	A · C · E	—
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	—
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	12×
iv	Dm	Subdominant — moves away from home	D · F · A	2×
v	Em	Minor dominant — soft pull	E · G · B	2×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	10×
VII	G	Subtonic — steps back to the tonic	G · B · D	2×
vii	Gm	Chromatic colour chordoutside the key	G · Bb · D	4×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 32 times in total; 5 of them sit naturally inside the shared scale. Gm step outside the scale as colour chords.

Chord movement

F C CIV → Iplagal cadence AmVI → III ×4
G C CV → Iauthentic cadence AmVII → III ×2
Dm G Cii → Vii → V Amiv → VII ×1

The move to watch is F → C, heard 4 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 C, land on C, E, G — 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 Gm, land on G, Bb, 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

2 semitones up
5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

Starting on C, the song gives away its key from the very first bar. The chords that keep coming back are C, F, Gm, Em; read them as I–IV–v–iii in C or III–VI–vii–v 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 C; 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.