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)
Koray Avcı - Uyan Güzel - Chord
Key G major – E minor Chords Em7, C, D, Cmaj7, D7 Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Em7 C D Em7 Cmaj7 D7 Em7 Uyan güzel aç gözünü C D Dinle aşığın sözünü Em7 C D Vermişim sana özümü Em7 Cmaj7 D7 Benim ay kızım sultaaanım Em7 C D Em7 Cmaj7 D7 Em7 C D Em7 Cmaj7 D7 Uyan uyan uyan uyan Em7 Vuruldum sana düşümde C D Ben baharım hem kışımda Em7 C D Bir sevda şu kel başımda Em7 Cmaj7 D7 Benim ay kızım sultaaanım Em7 C D Em7 Cmaj7 D7 Em7 C D Em7 Cmaj7 D7 Uyan uyan uyan uyan Em7 C D Em7 Cmaj7 D7 Em7 Sen sultansın ben bir kelim C D Bağlı ayağımla elim Em7 C D Sevdim seni durmaz dilim Em7 Cmaj7 D7 Benim ay kızım sultanım Em7 C D Em7 Cmaj7 D7 Em7 C D Em7 Cmaj7 D7 Uyan uyan uyan uyan
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Koray Avcı - Uyan Güzel Tabs
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Harmony analysis
Koray Avcı – Uyan Güzel: key and chord analysis
The song opens on Em7 and ends on D7. 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 25 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 | — |
| 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 | 14× |
| IVmaj7 | Cmaj7 | Subdominant — moves away from home | C · E · G · B | 11× |
| V | D | Dominant — strongest pull home | D · F# · A | 14× |
| V7 | D7 | Dominant — strongest pull home | D · F# · A · C | 11× |
| vi7 | Em7 | Relative minor — the melancholy side | E · G · B · D | 25× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Em7 | Tonic — home | E · G · B · D | 25× |
| 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 | — |
| 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 | 14× |
| VImaj7 | Cmaj7 | Submediant — warm colour | C · E · G · B | 11× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 14× |
| VII7 | D7 | Subtonic — steps back to the tonic | D · F# · A · C | 11× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 75 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 Em7 GV → vi7deceptive cadence EmVII → i7Aeolian arrival ×14
- C D GIV → VIV → V EmVI → VIIVI → VII ×14
- Cmaj7 D7 GIVmaj7 → V7IV → V EmVImaj7 → VII7VI → VII ×11
- D7 Em7 GV7 → vi7deceptive cadence EmVII7 → i7Aeolian arrival ×10
The move to watch is D → Em7, heard 14 times. From the Em side it is VII → i7 (Aeolian arrival: rises a whole tone into home); from the G side it reads V → vi7 (deceptive cadence: expected G, lands on Em). 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 Em7, 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 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 Em7, the song gives away its key from the very first bar. The backbone is Em7, C, D, Cmaj7 — vi7–IV–V–IVmaj7 from the G side, i7–VI–VII–VImaj7 from the Em side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D → Em7 (V → vi7 in G, VII → i7 in Em): Aeolian arrival — rises a whole tone into home. It closes on D7, letting the G 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.
Koray Avcı - Uyan Güzel 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: AnonimMusic: Anonim
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