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)
Birkan Nasuhoğlu - Ne Varsa Halimde (Dilhan Şeşen) - Chord
Key G major – E minor Chords D, Am, Em, Cmaj7 Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Cmaj7 Em
Em
Korkuluk gibi gördüler beni
Cmaj7
Sordular tabii bu ne hal, bu ne hal
Em
Ne varsa halimde
Cmaj7 Em
Premses gibi sevdiler beni
Cmaj7
Tutturdular tabii benim ol, benim ol
Em
Ne varsa halimde
D Am
Geriye dönmek bizi üzecek
D
Ruhsuz ruhum kime dönüşecek
Am
Altın kalpler üstünkörü
D
Yandı adım, kaldı özü
Am
Geriye dönmek bizi üzecek
D
Ruhsuz ruhum kime dönüşecek
Am
Altın kalpler üstünkörü
D
Yandı adım, kaldı özü
Em Am Em Am
haaaaaaaaaaaaaaaaaa
D Am
Geriye dönmek bizi üzecek
D
Ruhsuz ruhum kime dönüşecek
Am
Altın kalpler üstünkörü
D
Yandı adım, kaldı özü
Am
Geriye dönmek bizi üzecek
D
Ruhsuz ruhum kime dönüşecek
Am
Altın kalpler üstünkörü
D
Yandı adım, kaldı özü
End of song Play again?
Birkan Nasuhoğlu - Ne Varsa Halimde (Dilhan Şeşen) Tabs
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Harmony analysis
Birkan Nasuhoğlu – Ne Varsa Halimde (Dilhan Şeşen): key and chord analysis
The song opens on Cmaj7 and ends on D. 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 E minor side because Em is heard 7 times while G never appears. That is an interpretation, not a rule — the same chords are just as valid seen from G 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 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 | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 10× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IVmaj7 | Cmaj7 | Subdominant — moves away from home | C · E · G · B | 4× |
| V | D | Dominant — strongest pull home | D · F# · A | 10× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 7× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 7× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| iv | Am | Subdominant — moves away from home | A · C · E | 10× |
| v | Bm | Minor dominant — soft pull | B · D · F# | — |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VImaj7 | Cmaj7 | Submediant — warm colour | C · E · G · B | 4× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 10× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 4 different chords appear 31 times in total; 4 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
- Am D Gii → Vii → V Emiv → VII ×9
- Cmaj7 Em GIVmaj7 → vi EmVImaj7 → iVI → i ×4
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×1
- Am Em Gii → vi Emiv → iminor plagal ×1
The move to watch is Am → D, heard 9 times. From the Em side it is iv → VII; from the G side it reads ii → V (ii → V: the classic preparation of the dominant). 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 D, land on D, F#, A — 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 Em, land on E, G, B — 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 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
The song is already written in its easiest key for guitar.
The song's harmonic story
Starting on Cmaj7, the song gives away its key from the very first bar. The chords that keep coming back are D, Am, Em, Cmaj7; read them as V–ii–vi–IVmaj7 in G or VII–iv–i–VImaj7 in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am → D (ii → V in G, iv → VII in Em): ii → V — the classic preparation of the dominant. Ending on D, 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.
Birkan Nasuhoğlu - Ne Varsa Halimde (Dilhan Şeşen) 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: Birkan NasuhoğluMusic: Birkan NasuhoğluArrangement: Birkan Nasuhoğlu - Dilhan Şeşen
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