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)
Zeynep Bastık - İnci Tanem - Chord
Key G major – E minor Chords Em, D, Am7, Bm7, Bm, C, Am, Dm7 … Difficulty already in its easiest key
No ratings yet
or your user informations
Make it yours
Text size
Key: G | Em
Capo: 0
Em D Em D
Çaresizim mecbur bu veda
Em D Em Bm
Kokun üzerimde gidiyorum uzaklara
Bm Dm Am
Sığınıp anılara bu hasrete dayanırız elbet
C Bm Am Em
Ümidimiz muradına erecek sabret
Bm Dm Am
Sığınıp anılara bu hasrete dayanırız elbet
C Bm Am Em
Ümidimiz muradına erecek sabret
Em D Em D
Sabret sabret inci tanem bekle beni
Em D Am7
Döneceğim mutlaka sabret
Em Bm7 Dm7 Am7
Ağlama ne olur vazgeçme bekle beni
C Bm7 Am7 Em
Döneceğim mutlaka sabret
Em D Em D
Vız gelir dağlar denizler yaban eller
Em D Am7
Sevmeye engel değil mesafeler
Em Bm7 Dm7 Am7
Geçici bu ayrılık bir rüya farzet
C Bm7 Am7 Em
Sonunda zafer bizim olacak sabret
Em Bm7 Dm7 Am7
Geçici bu ayrılık bir rüya farzet
C Bm7 Am7 GEm
Sonunda zafer bizim olacak sabret
Em D Em D
Sabret sabret inci tanem bekle beni
Em D Am7
Döneceğim mutlaka sabret
Em Bm7 Dm7 Am7
Ağlama ne olur vazgeçme bekle beni
C Bm7 Am7 Em
Döneceğim mutlaka sabret
End of song Play again?
Zeynep Bastık - İnci Tanem Tabs
NotesX
Harmony analysis
Zeynep Bastık – İnci Tanem: key and chord analysis
The song opens on Em 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 22 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 | — |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 10× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 4× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 7× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 5× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 5× |
| V | D | Dominant — strongest pull home | D · F# · A | 12× |
| v7 | Dm7 | Chromatic colour chordoutside the key | D · F · A · C | 4× |
| v | Dm | Chromatic colour chordoutside the key | D · F · A | 2× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 22× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 22× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 10× |
| iv | Am | Subdominant — moves away from home | A · C · E | 4× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 7× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 5× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 5× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 12× |
| vii7 | Dm7 | Chromatic colour chordoutside the key | D · F · A · C | 4× |
| vii | Dm | Chromatic colour chordoutside the key | D · F · A | 2× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 9 different chords appear 71 times in total; 7 of them sit naturally inside the shared scale. Dm7, Dm step outside the scale as colour chords.
Chord movement
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×9
- Am7 Em Gii7 → vi Emiv7 → iminor plagal ×7
- Am Em Gii → vi Emiv → iminor plagal ×2
The move to watch is D → Em, heard 9 times. From the Em side it is VII → i (Aeolian arrival: rises a whole tone into home); from the G side it reads V → vi (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 Em, land on E, G, B — 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.
- Over Am7, 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 first chord is Em; the ear learns where home is within a second. The chords that keep coming back are Em, D, Am7, Bm7; read them as vi–V–ii7–iii7 in G or i–VII–iv7–v7 in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D → Em (V → vi in G, VII → i in Em): Aeolian arrival — rises a whole tone into home. 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.
Zeynep Bastık - İnci Tanem 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: TarkanMusic: Tarkan
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.