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)
Hakan Alıkçı - Ayrılığa Uyuyorum - Chord
Key G major – E minor Chords D, C, Am, Emadd9, Em Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Emadd9
Üzülürken başka kollarda
C
Başımız dik ama yollar dar
Am D Emadd9
Aramızda aşktan çok gurur var
Tam gülerken bi kar yağar
C
Üzerimde kuru bi soğuk var
Am D Emadd9
Isınamam beni sadece sen sar
Am D Em
Isınamam beni sadece sen sar
Em
Dur, uyanma
D
Henüz ayrılmadım şehirden
C
Bilirim engellersin sen ne yapar eder
D C Am Em
Sen uyuu, ben ayrılığa uyuyorum bu sefer
End of song Play again?
Hakan Alıkçı - Ayrılığa Uyuyorum Tabs
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Harmony analysis
Hakan Alıkçı – Ayrılığa Uyuyorum: key and chord analysis
The song opens on Emadd9 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the E minor side because it both starts and finishes on Em and Em is heard 6 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 | 4× |
| 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 | 4× |
| V | D | Dominant — strongest pull home | D · F# · A | 5× |
| vi | Emadd9 | Relative minor — the melancholy side | E · G · B · F# | 3× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 3× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Emadd9 | Tonic — home | E · G · B · F# | 3× |
| i | Em | Tonic — home | E · G · B | 3× |
| 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 | 4× |
| 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 | 4× |
| 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). 5 different chords appear 19 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
- Am D Gii → Vii → V Emiv → VII ×3
- D Emadd9 GV → videceptive cadence EmVII → iAeolian arrival ×2
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×1
- Am Em Gii → vi Emiv → iminor plagal ×1
- C D GIV → VIV → V EmVI → VIIVI → VII ×1
The move to watch is Am → D, heard 3 times. From the Em side it is iv → VII; from the G side it reads ii → V (ii → V: the classic preparation of the dominant). 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 D, land on D, F#, A — 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 opening Emadd9 lays a solid floor for everything that follows. D, C, Am, Emadd9 carry the song: V–IV–ii–vi relative to G, VII–VI–iv–i relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am → D (ii → V in G, iv → VII in Em): ii → V — the classic preparation of the dominant. Ending on Em, the song seals Em as home.
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.
Hakan Alıkçı - Ayrılığa Uyuyorum 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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