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)
Çağan Şengül - Eksik Kaldım (Yasir Miy) - Chord
Key G major – E minor Chords Em, C, Am, Bm Difficulty already in its easiest key
No ratings yet
or your user informations
Make it yours
Text size
Key: G | Em
Capo: 0
Em C Am Bm Em C Hangi günün sabahı Am Bm Yalnız, durgun uyandım Em C Şaşkın durdum, eksik kaldım Am Bm Güzel gözlerinden oldum Em C O gün gibi bıraktın bizi Am Bm Bu kalbimizdeki neyin izi Em C Yavaş yavaş topla beni Am Bm Biz bunu hiç haketmedik ki Em C Ah yanımda solgun elin elin Am Bm Son zamanlarından bana kaldı Em C Yol yakınken dön geri, geri Am Bm Çocukluğumuzda hatıran vardı Em C Hangi günün sabahı Am Bm Yalnız, durgun uyandım Em C Şaşkın durdum, eksik kaldım Am Bm Güzel gözlerinden oldum Em C O gün gibi bıraktın bizi Am Bm Bu kalbimizdeki neyin izi Em C Yavaş yavaş topla beni Am Bm Biz bunu hiç haketmedik ki Em C Ah yanımda solgun elin elin Am Bm Son zamanlarından bana kaldı Em C Yol yakınken dön geri, geri Am Bm Çocukluğumuzda hatıran vardı
End of song Play again?
Çağan Şengül - Eksik Kaldım (Yasir Miy) Tabs
NotesX
Harmony analysis
Çağan Şengül – Eksik Kaldım (Yasir Miy): key and chord analysis
The song opens on Em and ends on Bm. 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 opens on Em and Em is heard 13 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 | 13× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 13× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 13× |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| vi | Em | Relative minor — the melancholy side | E · G · B | 13× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 13× |
| 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 | 13× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 13× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 13× |
| 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). 4 different chords appear 52 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
- Bm Em Giii → vi Emv → inatural-minor cadence ×12
The move to watch is Bm → Em, heard 12 times. From the Em side it is v → i (natural-minor cadence: gentle, modal arrival); from the G side it reads iii → 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 Am, land on A, C, E — 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
The first chord is Em; the ear learns where home is within a second. The chords that keep coming back are Em, C, Am, Bm; read them as vi–IV–ii–iii in G or i–VI–iv–v in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm → Em (iii → vi in G, v → i in Em): natural-minor cadence — gentle, modal arrival. The final chord is Bm; the ear comes to rest in G.
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.
Çağan Şengül - Eksik Kaldım (Yasir Miy) 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.
Repertoires with this song
Similar songs, ready to play: pick a list.
Lyrics: Yasir MiyMusic: Yasir Miy
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.