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)
Grup Gündoğarken - Aşk Bu Sana Benzer - Chord
Key G major – E minor Chords Em, Am, B7, Cmaj7, D, G, C Difficulty already in its easiest key
No ratings yet
or your user informations
Make it yours
Text size
Key: G | Em
Capo: 0
Am Em B7 Em Am Em Aşk bu, ağaca benzer Cmaj7 B7 Sonbaharda döker yaprağını Am Em Aşk bu, şiire benzer Cmaj7 B7 Suya yazsan da kalıcı Am Em Aşk bu, hayat gibi Cmaj7 B7 Sonsuza kadar yaşayamazsın Am Em Aşk bu, sana benzer Cmaj7 B7 Em Dokunursun ama tutamazsın, tutamazsın Am Em B7 Em Am Em Aşk bu, cezaya benzer Cmaj7 B7 Yatmadan kurtulamazsın Am Em Aşk bu, zamana benzer Cmaj7 B7 Nasıl geçmiş anlayamazsın Am Em Aşk bu, dua gibi Cmaj7 B7 İnanmadan okuyamazsın Am Em Aşk bu rüyaya benzer Cmaj7 B7 Em Ben olmadan uyanamazsın, uyanamazsın G C D G Sadece bir şeye bakmalı D G D G Birlikteyken hayat tozpembe olmalı Am D Bugünlerde yanımdaysan sen Am D Bundan sonra yanındayım ben C B7 Em Aşktan başka bir şey istemeden, beklemeden
End of song Play again?
Grup Gündoğarken - Aşk Bu Sana Benzer Tabs
NotesX
Harmony analysis
Grup Gündoğarken – Aşk Bu Sana Benzer: 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)
- #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 comes to rest on Em, Em is heard 15 times against 4 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 | 4× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 12× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V7/vi | B7 | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# · A | 11× |
| IVmaj7 | Cmaj7 | Subdominant — moves away from home | C · E · G · B | 8× |
| IV | C | Subdominant — moves away from home | C · E · G | 2× |
| V | D | Dominant — strongest pull home | D · F# · A | 5× |
| 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 | 4× |
| iv | Am | Subdominant — moves away from home | A · C · E | 12× |
| v | Bm | Minor dominant — soft pull | B · D · F# | — |
| V7 | B7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# · A | 11× |
| VImaj7 | Cmaj7 | Submediant — warm colour | C · E · G · B | 8× |
| VI | C | Submediant — warm colour | C · E · G | 2× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 5× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 7 different chords appear 57 times in total; 6 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 B7 is V7/vi, a secondary dominant heading for Em.
Chord movement
- Am Em Gii → vi Emiv → iminor plagal ×10
- B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×5
- D G GV → Iauthentic cadence EmVII → III ×3
- Am D Gii → Vii → V Emiv → VII ×2
- C D GIV → VIV → V EmVI → VIIVI → VII ×1
The move to watch is Am → Em, heard 10 times. From the Em side it is iv → i (minor plagal: deep and melancholic); from the G side it reads ii → 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over B7, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- When B7 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
The song is already written in its easiest key for guitar.
The song's harmonic story
The first chord is Am; the ear learns where home is within a second. The backbone is Em, Am, B7, Cmaj7 — vi–ii–V7/vi–IVmaj7 from the G side, i–iv–V7–VImaj7 from the Em side. B7 is the interesting twist: in G it is a chromatic chord (V7/vi), while in Em it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Am → Em (ii → vi in G, iv → i in Em): minor plagal — deep and melancholic. 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.
Grup Gündoğarken - Aşk Bu Sana Benzer 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: Burhan ŞeşenMusic: Burhan Şeşen
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.