TNK - Büyük Ayrılık - Chord

Key C major – A minor Chords G, F, Am, Dm, C, Em, D Easy key G (capo 5)

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Capo 0

Am
Hisset
                                G
Büyük ayrılık çok yakın, çok yakın
       F
Çok yakın
  Am
O gidiyor, her şeyim gidiyor
                G        F
Oysa ki her şeyim, her şeyim
   Am 
Sözleri ağır, kulakları sağır, batıyoruz ağır ağır
G         F
Ve ben, susuyorum

Dm              C
Sakın ağlama kabul etmek zorundayız
Dm                    C       G      F   G
Birleştiremiyoruz, kaybolmuş eksik parçamız

Am                                   G
Hadi evimize dönüp kendimize sarılıp ağlayalım
Em                                  F
Hadi topla onları her yere dağılmış parçaların
Am                       D
Kapını çalarlarsa açma sakın
F                         G
İçinde kal ki ağladığın duyulmasın

F                         G
İçinde kal ki ağladığın duyulmasın
F                      G
İçinde kal ki hikâyeni kimse sormasın
F                        G
İçinde kal ki masumluğun bozulmasın
F                        G
İçinde kal ki hayallerin yıkılmasın
F                       G
İçinde kal ki ağladığın duyulmasın
   Am
Hisset

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TNK - Büyük Ayrılık Tabs

NotesX

Harmony analysis

TNK – Büyük Ayrılık: 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.

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 A minor side because it both starts and finishes on Am and Am is heard 6 times against 2 for C. 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.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	2×
ii	Dm	Supertonic — prepares the dominant	D · F · A	2×
V/V	D	Secondary dominant V/V — leads to Gsecondary dominant	D · F# · A	1×
iii	Em	Mediant — a tonic-family shade	E · G · B	1×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	11×
V	G	Dominant — strongest pull home	G · B · D	12×
vi	Am	Relative minor — the melancholy side	A · C · E	6×
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	6×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	2×
iv	Dm	Subdominant — moves away from home	D · F · A	2×
IV	D	Major IV — Dorian / melodic-minor colourmodal colour	D · F# · A	1×
v	Em	Minor dominant — soft pull	E · G · B	1×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	11×
VII	G	Subtonic — steps back to the tonic	G · B · D	12×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 35 times in total; 6 of them sit naturally inside the shared scale. D acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

F G CIV → VIV → V AmVI → VIIVI → VII ×7
F Am CIV → vi AmVI → iVI → i ×3
G Am CV → videceptive cadence AmVII → iAeolian arrival ×2

The move to watch is F → G, heard 7 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 F, land on F, A, C — 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.

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. G, F, Am, Dm carry the song: V–IV–vi–ii relative to C, VII–VI–i–iv relative to Am. D adds a moment of surprise: secondary dominant V/V — leads to G. Keep an ear on F → G (IV → V in C, VI → VII in Am): VI → VII — the rising step that heads for the tonic. 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.