Major view
G major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F# (leading tone, pulls home)
- 4 = C (the note that leans on the 3rd)
Bininci Tekil - Zavalsız Ben - Chord
Key G major – E minor Chords G, Em, D, Bm, Am, F Easy key C (capo 7)
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Key: G | Em
Capo: 0
G
Kendinden memnun olmayan insan
Em
Nasıl yaşar, doğumuna pişman
G
Ve korkarım ya açmazsa birdaha çiçeklerim
Em
Yine de beklerim, güneşi beklerim
G Em
Hep kendim ettim, kendim kaybettim
G
Acımayın bana, kolay dolar gözlerim
Kahroluşculuk felsefemdir
Em G
Sonradan değil, doğuştan böyledir
D Em Bm Am
Zavalsız ben, zavalsız ben
F G
Ne geldiyse başıma hep kendimden
D Em Bm Am
Zavalsız ben, zavalsız ben
F
Ne geldiyse başıma her ne geldiyse
G
Hep kendimden
End of song Play again?
Bininci Tekil - Zavalsız Ben Tabs
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Harmony analysis
Bininci Tekil – Zavalsız Ben: key and chord analysis
The song opens on G and ends on G. Its chords belong to both G major and Em, so every chord below is read both ways.
Minor view
E minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = C (the minor's melancholy)
- b7 = D (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G major side because it both starts and finishes on G and G is heard 7 times against 6 for Em. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to G or to Em; 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 | G | Tonic — home | G · B · D | 7× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 2× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 2× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | — |
| V | D | Dominant — strongest pull home | D · F# · A | 2× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 6× |
| bVII | F | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | F · A · C | 2× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 6× |
| bII | F | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | F · A · C | 2× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 7× |
| iv | Am | Subdominant — moves away from home | A · C · E | 2× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 2× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | — |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 2× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 21 times in total; 5 of them sit naturally inside the shared scale. F is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×2
- F G GbVII → IbVII → I EmbII → III ×2
The move to watch is D → Em, heard 2 times. From the G side it reads V → vi (deceptive cadence: expected G, lands on Em); from the Em side it is VII → i (Aeolian arrival: rises a whole tone into home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
- Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
- Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- On F, follow the chord's notes (F · A · C) rather than the key's scale — it's a borrowed colour.
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 G major shapes
- No capo — open G shapes
- Capo 3 + E shapes
- Capo 5 + D shapes
With E minor shapes
- No capo — open Em shapes
- Capo 2 + Dm shapes
- Capo 7 + Am shapes
Easiest keys on guitar
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The first chord is G; the ear learns where home is within a second. The chords that keep coming back are G, Em, D, Bm; read them as I–vi–V–iii in G or III–i–VII–v in Em. F briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on D → Em (V → vi in G, VII → i in Em): deceptive cadence — expected G, lands on Em. Ending on G, the song seals G 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.
Bininci Tekil - Zavalsız Ben 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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