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)
Bilal Sonses - Sebepsiz Boş Yere - Chord
Key G major – E minor Chords Bm, D, C, Am7, Em, G, Am Easy key C (capo 7)
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Key: G | Em
Capo: 0
Bm Em D C D C Bm C Am7 D C Bm G Am7 Gönülden kapıldım diye vurursan D Em D Kurduğun düşleri eğer yıkarsaan C Am7 Bu aşkın adını hasret koyarsan Bm Am Bm Seninle bir ömür düşman oluruz Bm Em Sebepsiz boş yere ayrılacaksan C D Tertemiz dünyamı karartacaksan Bm C Beni hasretinle yaşatacaksan Am7 D C Bm Seninle bir ömür düşman oluruz G Am7 Her şeyi söyledim anlattım sana D Em D Söyleyecek sözüm kalmadı dahaa C Am7 Sonunda uğrarsam acı hüsrana Bm Am Bm Seninle bir ömür düşman oluruz
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Bilal Sonses - Sebepsiz Boş Yere Tabs
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Harmony analysis
Bilal Sonses – Sebepsiz Boş Yere: key and chord analysis
The song opens on Bm and ends on Bm. 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 Em is heard 4 times against 2 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | 2× |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 6× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 2× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 10× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 9× |
| V | D | Dominant — strongest pull home | D · F# · A | 9× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 4× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 4× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 2× |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 6× |
| iv | Am | Subdominant — moves away from home | A · C · E | 2× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 10× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 9× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 9× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 7 different chords appear 42 times in total; 7 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
- Am7 D Gii7 → Vii → V Emiv7 → VII ×4
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×2
- Bm Em Giii → vi Emv → inatural-minor cadence ×2
- C D GIV → VIV → V EmVI → VIIVI → VII ×2
The move to watch is Am7 → D, heard 4 times. From the Em side it is iv7 → VII; from the G side it reads ii7 → 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 Bm, land on B, D, F# — 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 C, land on C, E, G — 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
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The opening Bm lays a solid floor for everything that follows. The chords that keep coming back are Bm, D, C, Am7; read them as iii–V–IV–ii7 in G or v–VII–VI–iv7 in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am7 → D (ii7 → V in G, iv7 → VII in Em): ii → V — the classic preparation of the dominant. Ending on Bm, the song seals G 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.
Bilal Sonses - Sebepsiz Boş Yere 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: Yusuf AkpınarMusic: Kadir RomanArrangement: Bilal Sonses
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