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)
Teoman - Kum Saati - Chord
Key C major – A minor Chords Am, G, Dm, F Easy key G (capo 5)
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Key: C | Am
Capo: 0
Am
Zamanla aram pek iyi değildir
Kendimi şanslı sayarım yine de
Yalnız kalmakla ilgili bir sorunum yok
F
Ama yakınlarda olsun nefesi sevdiğim birinin
Am G Dm
Zaman nefes almakla geçen günler değil
G Am F
Birinin aklında olmakla ilgili biraz
Am G Dm
Ve hayatın kum saatini sen değil
G Am
Senin yanındaki tutar, o kadar
Dm
Zamanım dar
Am
Benimle kal
G
Gitme bu gece
Am
Yanımda kal
Am
Hayatla aram pek iyi değildir
Çok mutsuz saymam kendimi yine de
Göçüp gitmekle ilgili sorunum yok
F
Ama kalbinde olayım sevdiklerimin
Am G Dm
Hayat nefes almakla geçen günler değil
G Am F
Sonumuzun farkında olmakla ilgili biraz
Am G Dm
Ve hayatın kum saatini sen değil
G Am
Biriktirdiğin anılar tutar, o kadar
Dm
Zamanım dar
Am
Benimle kal
G
Gitme bu gece
Am
Yanımda kal
End of song Play again?
Teoman - Kum Saati Tabs
NotesX
Harmony analysis
Teoman – Kum Saati: key and chord analysis
The song opens on Am and ends on Am. 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 both starts and finishes on Am and Am is heard 14 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 | 6× |
| 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 | 4× |
| V | G | Dominant — strongest pull home | G · B · D | 10× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 14× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 14× |
| 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 | 6× |
| 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 | 4× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 10× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 4 different chords appear 34 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
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×6
- F Am CIV → vi AmVI → iVI → i ×4
- Dm G Cii → Vii → V Amiv → VII ×4
- Dm Am Cii → vi Amiv → iminor plagal ×2
The move to watch is G → Am, heard 6 times. From the Am side it is VII → i (Aeolian arrival: rises a whole tone into home); from the C side it reads V → vi (deceptive cadence: expected C, lands on Am). 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 Am, land on A, C, E — 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 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
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
The first chord is Am; the ear learns where home is within a second. The chords that keep coming back are Am, G, Dm, F; read them as vi–V–ii–IV in C or i–VII–iv–VI in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → Am (V → vi in C, VII → i in Am): Aeolian arrival — rises a whole tone into home. Ending on Am, the song seals Am 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.
Teoman - Kum Saati 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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