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)
İkikardesh - Yine Yine (Koray Albayrak) - Chord
Key C major – A minor Chords G, Am, F Easy key G (capo 5)
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Key: C | Am
Capo: 0
Am G F G
Am G F
Her günü bir kenara bırakıp
G Am
Yarına doğru bir yol alırken
G F
Geçmişin üzerine su atıp
G Am
Geleceğin ateşine kavrulurken
G F
Yine yine yanlışa ben bastım
G Am
O çorak yolları sel bastı
G F
Sana göre dünya rengarenk
G Am
Ben göremiyorum bu bir haksızlık
Am G
Kul olayım kölen olayım
F G
Sen oryantali al ver halayı
Am G
Yan yanayım yar sana yanayım
F G
Kabul tutmaz ki her yarayı
Am G
Güneşim yarında
F G
Günah dolar içim anında
Am G
Ah buna pişmanımda
F G
Kurtulamıyorum inadımdan
Am G
Git arkana bakma
F G
Geriye izlerini bırakma
Am G
Yar kalbini kimseye açma
F G
Metropolde Kerem Aslı’yı takmaz
Am G
Sokak güneşi gölgeliyor
F G
İnsanlar yalandan söz veriyor
Am G
Vicdan denen bir gösteri yok
F G
Varoşun dünyaya öfkesi bu
Am G F G
Aynı aynı günler aynı
Am G F G
Aynı aynı dünler aynı
End of song Play again?
İkikardesh - Yine Yine (Koray Albayrak) Tabs
NotesX
Harmony analysis
İkikardesh – Yine Yine (Koray Albayrak): key and chord analysis
The song opens on Am and ends on G. 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 16 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 | — |
| 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 | 15× |
| V | G | Dominant — strongest pull home | G · B · D | 30× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 16× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 16× |
| 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 | — |
| 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 | 15× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 30× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 3 different chords appear 61 times in total; 3 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
- F G CIV → VIV → V AmVI → VIIVI → VII ×15
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×14
The move to watch is F → G, heard 15 times. From the Am side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the C side it reads IV → V (IV → V: the lift that builds tension before home). 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 G, land on G, B, D — 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 F, land on F, A, C — 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 opening Am lays a solid floor for everything that follows. The chords that keep coming back are G, Am, F; read them as V–vi–IV in C or VII–i–VI in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → G (IV → V in C, VI → VII in Am): VI → VII — the rising step that heads for the tonic. The final chord is G; 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.
İkikardesh - Yine Yine (Koray Albayrak) 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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