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 - Pişmanım - Chord
Key G major – E minor Chords B7, Em, Cmaj7, Am, F#m7b5, F#7, Dm7, E7 … Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Em Cmaj7 Am B7 Em Cmaj7 B7 F#7 B7
Em B7 Em
Unuttum sanma yaşananları
Cmaj7 Am
Kırgınlıktan değildir suskunluğum bilesin
B7
Başkası anlatsın bize aşkımızı
Em
Buruk bir tebessümle oturup dinleyelim
Em B7 Em
Varsın değişsin isimler geçen yerler
Cmaj7 Am
İlk karşılaşmamız farklı anlatılsın
B7
Başka bir şehirde geçsin hikayemiz
Em
İsimsiz bir sokakta ilk tanışmamız
Dm7 E7
Sanki bu yerlerden henüz geçmiş gibi
Am
Çıkmaz ismin aklımdan ama unutmuş gibi
F#m7b5 B7
Bunları daha önce yaşamış gibi
Cmaj7 B7
Geliyorsa birtanem sensin sebebi, sebebi
Em
Pişmanım ama nafile
Cmaj7 B7
Yokluğunla ceza verdim kendime
Am Am/G
Savruldum kayboldum
F#m7b5 B7
Her gün gelip geçtiğim bu caddelerde
End of song Play again?
Grup Gündoğarken - Pişmanım Tabs
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Harmony analysis
Grup Gündoğarken – Pişmanım: key and chord analysis
The song opens on Em and ends on B7. 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 opens on Em, Em is heard 9 times while G never appears 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 | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 5× |
| ii | Am/G | Supertonic — prepares the dominant | A · C · E | 1× |
| 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 | 6× |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| v7 | Dm7 | Chromatic colour chordoutside the key | D · F · A · C | 1× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 9× |
| V7/ii | E7 | Secondary dominant V/ii — leads to Amsecondary dominant | E · G# · B · D | 1× |
| viiø7 | F#m7b5 | Leading-tone chord — tension | F# · A · C · E | 2× |
| V7/iii | F#7 | Secondary dominant V/iii — leads to Bmsecondary dominant | F# · A# · C# · E | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 9× |
| V7/iv | E7 | Secondary dominant V/iv — leads to Amsecondary dominant | E · G# · B · D | 1× |
| iiø7 | F#m7b5 | Supertonic — prepares the dominant | F# · A · C · E | 2× |
| V7/v | F#7 | Secondary dominant V/v — leads to Bmsecondary dominant | F# · A# · C# · E | 1× |
| III | G | Relative major — the bright side | G · B · D | — |
| iv | Am | Subdominant — moves away from home | A · C · E | 5× |
| iv | Am/G | Subdominant — moves away from home | A · C · E | 1× |
| 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 | 6× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | — |
| vii7 | Dm7 | Chromatic colour chordoutside the key | D · F · A · C | 1× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 9 different chords appear 37 times in total; 5 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. F#7, E7 act as secondary dominants, briefly pointing at another chord of the key.
Chord movement
- B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×7
- Am B7 Gii → V7/vi Emiv → V7iv → V ×3
- F#m7b5 B7 Gviiø7 → V7/vi Emiiø7 → V7ii° → V ×2
- F#7 B7 GV7/iii → V7/visecondary resolution EmV7/v → V7 ×1
- E7 Am GV7/ii → iisecondary resolution EmV7/iv → iv ×1
The move to watch is B7 → Em, heard 7 times. From the Em side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the G side it reads V7/vi → vi (secondary resolution: B7 resolves a fourth up to 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 B7, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over Cmaj7, land on C, E, G — 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 opening Em lays a solid floor for everything that follows. B7, Em, Cmaj7, Am carry the song: V7/vi–vi–IVmaj7–ii relative to G, V7–i–VImaj7–iv relative to Em. 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 B7 → Em (V7/vi → vi in G, V7 → i in Em): harmonic-minor cadence — the major V resolves dramatically. The final chord is B7; 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.
Grup Gündoğarken - Pişmanım 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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Lyrics: Burhan ŞeşenMusic: Gökhan Şeşen
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