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)
Onur Atmaca - Aramayın Sormayın - Chord
Key G major – E minor Chords Em, G, D, Am, C Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Am Em G G Am Am D D G G Em C D D Em
Am Em G
Her gün görmek istesam gözlerumden uzaksun
Am
İçume atsam seni yüreğume tuzaksun
D G Em
Düşmişum ateşine bırak yanarsa yansun
C D Em
Bu ömrüme yazduğum belkide tek yalansun
Am Em G
Aramayın sormayın memlekete gelemem
Am
Ömrume yazduğumi bir kalemde silemem
D G Em
Gözlerum yaş dökerkan bu aralar gülemem
C D Em
Daha böyle sevdaluk yaşarmiyum bilemem
Am Em G
Küli bile yakayi ateşinden kurtulsam
Am
Her kalbun işi değil keşke bende unutsam
D G Em
Çikar beni aklundan eğer sana umutsam
C D Em
Herşey gönlünce olsun budur sana son duam
Am Em G
Aramayın sormayın memlekete gelemem
Am
Ömrume yazduğumi bir kalemde silemem
D G Em
Gözlerum yaş dökerkan bu aralar gülemem
C D Em
Daha böyle sevdaluk yaşarmiyum bilemem
End of song Play again?
Onur Atmaca - Aramayın Sormayın Tabs
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Harmony analysis
Onur Atmaca – Aramayın Sormayın: key and chord analysis
The song opens on Am 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the E minor side because it comes to rest on Em and Em is heard 15 times against 12 for G. 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 | 12× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 11× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 5× |
| V | D | Dominant — strongest pull home | D · F# · A | 12× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 15× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 15× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 12× |
| iv | Am | Subdominant — moves away from home | A · C · E | 11× |
| 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# | — |
| VI | C | Submediant — warm colour | C · E · G | 5× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 12× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 55 times in total; 5 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
- D G GV → Iauthentic cadence EmVII → III ×5
- Am Em Gii → vi Emiv → iminor plagal ×5
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×5
- Am D Gii → Vii → V Emiv → VII ×5
- C D GIV → VIV → V EmVI → VIIVI → VII ×5
The move to watch is D → G, heard 5 times. From the Em side it is VII → III; from the G side it reads V → I (authentic cadence: the strongest arrival 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 Em, land on E, G, B — 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.
- Over D, land on D, F#, A — 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 Am, the song gives away its key from the very first bar. Em, G, D, Am carry the song: vi–I–V–ii relative to G, i–III–VII–iv relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D → G (V → I in G, VII → III in Em): authentic cadence — the strongest arrival home. 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.
Onur Atmaca - Aramayın Sormayın 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: Fatih SöylemezMusic: Onur AtmacaArrangement: Yıldıray Yanlı
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