Nil İpek - Senden Uzakta - Chord

Key G major – E minor Chords G, C, Am, F, Bb, D Easy key D (capo 5)

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Capo 0

G  C

G       C
 Senden uzakta
G         C     D
 Tatsız çileklerden
                   Am      G  C  G  C
Tatlı reçeller yaptım sana

G       C
 Senden uzakta
G         C    D
 Mantıklı konuştum
              Am                 G  C  G  C
Tuhaf insanlarla, dırırırım dım

G              F             Bb
 Senden uzakta, uzaklar karanlık
             Am
Yakınlar renksiz
G              F                Bb
 Senden uzakta, kafam gürültülüyken
         Am
Evim sessiz 

G  C

G       C
 Senden uzakta
G         C     D
 Tatsız çileklerden
                   Am      G  C  G  C
Tatlı reçeller yaptım sana

G       C
 Senden uzakta 
G            C    D
 Saçma sapan konuştum
                 Am                G  C  G  C
Mantıklı insanlarla, dırırırım dım

G              F             Bb
 Senden uzakta, uzaklar karanlık
             Am
Yakınlar renksiz
G              F                Bb
 Senden uzakta, kafam gürültülüyken
         Am
Evim sessiz 

G              F             Bb
 Senden uzakta, uzaklar karanlık
             Am
Yakınlar renksiz
G              F                Bb
 Senden uzakta, kafam gürültülüyken
          Am
Kalbim sessiz

End of song Play again?

Nil İpek - Senden Uzakta Tabs

NotesX

Harmony analysis

Nil İpek – Senden Uzakta: key and chord analysis

The song opens on G and ends on Am. Its chords belong to both G major and Em, so every chord below is read both ways.

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)

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 G major side because it opens on G and G is heard 24 times while Em never appears. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.

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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	24×
ii	Am	Supertonic — prepares the dominant	A · C · E	10×
bIII	Bb	Borrowed from the parallel minorborrowed chord	Bb · D · F	6×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
III	B	Chromatic colour chordoutside the key	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	18×
V	D	Dominant — strongest pull home	D · F# · A	4×
vi	Em	Relative minor — the melancholy side	E · G · B	—
bVII	F	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	F · A · C	6×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	—
bII	F	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	F · A · C	6×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	24×
iv	Am	Subdominant — moves away from home	A · C · E	10×
#IV	Bb	Chromatic colour chordoutside the key	Bb · D · F	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#	—
VI	C	Submediant — warm colour	C · E · G	18×
VII	D	Subtonic — steps back to the tonic	D · F# · A	4×

Analysis

The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 68 times in total; 4 of them sit naturally inside the shared scale. F, Bb are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

C G GIV → Iplagal cadence EmVI → III ×14
C D GIV → VIV → V EmVI → VIIVI → VII ×4

The move to watch is C → G, heard 14 times. From the G side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Em side it is VI → III. 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 G, land on G, B, D — 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.
On F, follow the chord's notes (F · A · C) rather than the key's scale — it's a borrowed colour.

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 down · capo 5 keeps the original pitch
2 semitones up

The song's harmonic story

The first chord is G; the ear learns where home is within a second. The chords that keep coming back are G, C, Am, F; read them as I–IV–ii–bVII in G or III–VI–iv–bII in Em. F briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on C → G (IV → I in G, VI → III in Em): plagal cadence — the soft 'amen' ending. The final chord is Am; 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.