Jabbar - Uzun Uzun (Deeperise) - Chord

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

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Capo 0

F  G  Am  Am

       F       G        Am
Çıkmaz aklımdan gözlerin
        F       G          Am
Saplanır ok gibi o sözlerin
            F       G
Bilir misin ardından
            Am
Çok gülmedim

        F        G            Am
Belki de sen beni pek sevmedin
        F         G           Am
Belki de sevdin de göstermedin

        F    G    Am
Şimdi düşün uzun uzun
   F    G    Am
Tartıp azın özün
        F      G  Am
Neden bitmez bu sızın
  F      G   Am
Sensiz huzursuzum
  F      G   Am
Yersiz huzursuzum

F  G  Am  Am

      F      G           Am
Aktın su gibi söndürmedin
       F    G              Am
Kendine hiç toz kondurmadın
            F          G            Am
Ben üç adım ardında sen bir dönmedin
        F       G               Am
Sen bana hep baktın hiç görmedin

        F    G    Am
Şimdi düşün uzun uzun
   F     G     Am
İçinde durur çözüm
            F      G  Am
Sorun değil aslında nazın
  F      G   Am
Yersiz huzursuzum

        F    G    Am
Şimdi düşün uzun uzun
   F    G    Am
Tartıp azın özün
        F      G  Am
Neden bitmez bu sızın
  F      G   Am
Sensiz huzursuzum
  F      G   Am
Yersiz huzursuzum

End of song Play again?

Jabbar - Uzun Uzun (Deeperise) Tabs

NotesX

Harmony analysis

Jabbar – Uzun Uzun (Deeperise): key and chord analysis

The song opens on F 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 comes to rest on Am and Am is heard 27 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.

Seen from C major
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	25×
V	G	Dominant — strongest pull home	G · B · D	25×
vi	Am	Relative minor — the melancholy side	A · C · E	27×
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	27×
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	25×
VII	G	Subtonic — steps back to the tonic	G · B · D	25×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 3 different chords appear 77 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

G Am CV → videceptive cadence AmVII → iAeolian arrival ×25
F G CIV → VIV → V AmVI → VIIVI → VII ×25

The move to watch is G → Am, heard 25 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 F, land on F, A, C — 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.

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 F lays a solid floor for everything that follows. The backbone is Am, F, G — vi–IV–V from the C side, i–VI–VII from the Am side. 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.