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)
Birileri - Aşık Olmamam Gerek - Chord
Key G major – E minor Chords Em, C, B, Am, G, F#dim, F#m Easy key C (capo 7)
No ratings yet
or your user informations
Make it yours
Text size
Key: G | Em
Capo: 0
Em C Em C Em C B Am G F#dim Em
Em G
Hiç hesapta yokken gelip giriverdin hayatıma
C B
Tutup ellerimden uyudun kaldın yanımda
Em G
Kösnül bi hayal kıvamında iki gece iki gün
C B
Ve biraz da hüzün bıraktın giderken ardında
C B
Sana bu kadar bağlanmamam gerek farkındayım
C B
Ama bi kere alışmışım yani ben ne yapayım
Am Em
Biliyorum benim sana aşık olmamam gerek
B Em
Ama bilirsin laftan anlamaz bu yürek
Am Em
Sanıyorum biraz daha yanında kalmam gerek
B Em
Kaybediyorum kendimi ben giderek
Em C Em C Em C B Am G F#m Em
Em G
Gelişin nasıl hızlı olduysa gidişin de öyle
C B
Ben aklımı da yolcu ettim bu şehirden seninle
Em G
zerimde hırkan kulağımda verdiğin o küpe
C B
Bi tutam da saçın var mavi kutum içinde
C B
Sana bu kadar bağlanmamam gerek farkındayım
C B
Ama bi kere alışmışım yani ben ne yapayım
Am Em
Biliyorum benim sana aşık olmamam gerek
B Em
Ama bilirsin laftan anlamaz bu yürek
Am Em
Sanıyorum biraz daha yanında kalmam gerek
B Em
Kaybediyorum kendimi ben giderek
End of song Play again?
Birileri - Aşık Olmamam Gerek Tabs
NotesX
Harmony analysis
Birileri – Aşık Olmamam Gerek: key and chord analysis
The song opens on Em and ends on Em. 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)
- #7 = D# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the E minor side because it both starts and finishes on Em, Em is heard 20 times against 6 for G and the major V chord points straight at Em. 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 | 6× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 6× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | 14× |
| IV | C | Subdominant — moves away from home | C · E · G | 14× |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| vi | Em | Relative minor — the melancholy side | E · G · B | 20× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | 1× |
| vii | F#m | Chromatic colour chordoutside the key | F# · A · C# | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 20× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | 1× |
| ii | F#m | Chromatic colour chordoutside the key | F# · A · C# | 1× |
| III | G | Relative major — the bright side | G · B · D | 6× |
| iv | Am | Subdominant — moves away from home | A · C · E | 6× |
| 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# | 14× |
| VI | C | Submediant — warm colour | C · E · G | 14× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | — |
Analysis
The key pair is G major and its relative E minor (1 sharp). 7 different chords appear 62 times in total; 5 of them sit naturally inside the shared scale. The major V of Em brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from G, the same B is V/vi, a secondary dominant heading for Em. F#m step outside the scale as colour chords.
Chord movement
- B Em GV/vi → vi EmV → iharmonic-minor cadence ×6
- Am Em Gii → vi Emiv → iminor plagal ×4
- C Em GIV → vi EmVI → iVI → i ×4
The move to watch is B → Em, heard 6 times. From the Em side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the G side it reads V/vi → vi. 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 Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- When B comes, swap the scale's D for D#: that single note is the harmonic-minor sound of the chord.
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 Em; the ear learns where home is within a second. The chords that keep coming back are Em, C, B, Am; read them as vi–IV–V/vi–ii in G or i–VI–V–iv in Em. B is the interesting twist: in G it is a chromatic chord (V/vi), while in Em it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on B → Em (V/vi → vi in G, V → i in Em): harmonic-minor cadence — the major V resolves dramatically. It closes on Em, letting the Em side have the last word.
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.
Birileri - Aşık Olmamam Gerek 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Jan SoykökMusic: Jan SoykökArrangement: Birileri
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.