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)
Gökhan Türkmen - İlla - Chord
Key C major – A minor Chords Em7, Fmaj7, Dm7, Am7, Bm7b5, Am Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Am Bm7b5 Fmaj7 Em7
İlla senin için mi yazmam gerekiyor bütün sözleri
Dm7 Em7 Am7
Her şey senin için mi sanıyorsun
Bm7b5 Fmaj7
Sıkıldım bu bencil tavırlarından
Em7
Başkasını sevemez miyim
Dm7 Em7 Am7
Yapamaz mıyım gerçekten
Fmaj7 Em7
Yardım et ne olur, kurtulmak istiyorum senden
Dm7 Am7
Ne var sanki unutabilsem seni, bana küfür etsen
Fmaj7 Em7
Yok yok iyi davran bana, yoksa unutamam seni
Fmaj7 Em7 Dm7 Am7
Hak ettim ben bunu aartık sevemem kimseyi
End of song Play again?
Gökhan Türkmen - İlla Tabs
NotesX
Harmony analysis
Gökhan Türkmen – İlla: key and chord analysis
The song opens on Am and ends on Am7. 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 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 | — |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 4× |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 7× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IVmaj7 | Fmaj7 | Subdominant — moves away from home | F · A · C · E | 5× |
| V | G | Dominant — strongest pull home | G · B · D | — |
| vi7 | Am7 | Relative minor — the melancholy side | A · C · E · G | 4× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 1× |
| viiø7 | Bm7b5 | Leading-tone chord — tension | B · D · F · A | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Am7 | Tonic — home | A · C · E · G | 4× |
| i | Am | Tonic — home | A · C · E | 1× |
| iiø7 | Bm7b5 | Supertonic — prepares the dominant | B · D · F · A | 2× |
| III | C | Relative major — the bright side | C · E · G | — |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 4× |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 7× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VImaj7 | Fmaj7 | Submediant — warm colour | F · A · C · E | 5× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | — |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 23 times in total; 6 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
- Dm7 Am7 Cii7 → vi7 Amiv7 → i7minor plagal ×2
- Em7 Am7 Ciii7 → vi7 Amv7 → i7natural-minor cadence ×2
The move to watch is Dm7 → Am7, heard 2 times. From the Am side it is iv7 → i7 (minor plagal: deep and melancholic); from the C side it reads ii7 → vi7. 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 Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over Fmaj7, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over Dm7, 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 chords that keep coming back are Em7, Fmaj7, Dm7, Am7; read them as iii7–IVmaj7–ii7–vi7 in C or v7–VImaj7–iv7–i7 in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm7 → Am7 (ii7 → vi7 in C, iv7 → i7 in Am): minor plagal — deep and melancholic. It closes on Am7, letting the Am 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.
Gökhan Türkmen - İlla 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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Lyrics: Gökhan TürkmenMusic: Gökhan Türkmen
Aytaç ÖzgümüşArrangement: Aytaç Özgümüş
Aytaç ÖzgümüşArrangement: Aytaç Özgümüş
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