Kahraman Deniz - Yüreğimin Üstünden - Chord

Key G major – E minor Chords Em, C, Am, G Difficulty already in its easiest key

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Capo 0

Em  C  Em  Am

Em                   Am
 Yolum hep düz değil, ruhum dağılır tümsekte
Em                            Am
 Aşağıda bedenimi kemirirler, ah ama kafam hep yüksekte
Em                         C
 Çirkine çirkin denilir mi, özü görmeye aynası yok
Em                         Am
 Kıt sofraya aç gidilir mi, yansan bir damla su yok

Em
Her aşka ömür verilir mi
C
Sanma ki bir başkası yok
Em
Eskiden öyleydi de, şimdi
Am
Kendine bile faydası yok

Em                   C
 Güneşime küstüm ben, parla da gir pencereden
G                  Am            C
 Ya da vazgeç, bas geç yüreğimin üstünden
Em                   C
 Bu mezara saplandım, yapabiliyorsan kurtar beni
G                  Am            C   
 Ya da vazgeç, bas geç yüreğimin üstünden

Em  C  Em  Am

Em                    C
 Yolsuzlar yolcu olur, başlar ayakları unutunca
Em                          Am
 Yazılar uçar, sözler kalır, ayaklar baş olunca
Em                           C
 Aşk her şeyi çözmüş, kendini kim yenmişse o ermiş
Em                               Am
 Dolu içmedim hiçbir pir elinden, yine de adım deli derviş

    Em 
Bir el vermiş, öteki görmüş
       C
Mazlum mecbur, zâlime dönmüş
        Em
Hâlbuki yaşamayı henüz öğrenmiştim
    Am
Ama dünyanın sonu gelmiş

Em                   C
 Güneşime küstüm ben, parla da gir pencereden
G                  Am            C
 Ya da vazgeç, bas geç yüreğimin üstünden
Em                   C
 Bu mezara saplandım, yapabiliyorsan kurtar beni
G                  Am            C   
 Ya da vazgeç, bas geç yüreğimin üstünden

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Kahraman Deniz - Yüreğimin Üstünden Tabs

NotesX

Harmony analysis

Kahraman Deniz – Yüreğimin Üstünden: key and chord analysis

The song opens on Em and ends on C. 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 E minor side because it opens on Em and Em is heard 20 times against 4 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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	4×
ii	Am	Supertonic — prepares the dominant	A · C · E	13×
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	15×
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	20×
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	20×
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	13×
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	15×
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

C Em GIV → vi EmVI → iVI → i ×10
Am Em Gii → vi Emiv → iminor plagal ×9
C G GIV → Iplagal cadence EmVI → III ×4

The move to watch is C → Em, heard 10 times. From the Em side it is VI → i (VI → i: falls a half step into home); from the G side it reads IV → 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

Starting on Em, the song gives away its key from the very first bar. Em, C, Am, G carry the song: vi–IV–ii–I relative to G, i–VI–iv–III relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → Em (IV → vi in G, VI → i in Em): VI → i — falls a half step into home. It closes on C, 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.