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)
Yıldız Tilbe - Peşindeyim Koşa Koşa - Chord
Key G major – E minor Chords Cmaj7, Bm, D, Em Easy key C (capo 7)
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Key: G | Em
Capo: 0
Bm Cmaj7 Bm Cmaj7 Bm Cmaj7 Bm Cmaj7 D Cmaj7 Bm Cmaj7 Bir adım atsan bana Bm Cmaj7 İnan uçardım sana Em Şaka mı sandın Cmaj7 D Nasıl yalvardım Allah'a Bm Cmaj7 Unutuldum kaç bahar Bm Cmaj7 Hayat bildiğin kadar Em Bir geç bir erken Cmaj7 D Gönül gözümden nereye kadar firar Bm Cmaj7 Peşindeyim koşa koşa Bm Cmaj7 Evlenelim istersen boşa Bm Cmaj7 Baktın olur ya anlaşırsak D bM Yaşayalım paşa paşa Bm Cmaj7 Öyle öp ki yanağımdan Bm Cmaj7 İstesin dudağımda Em Cmaj7 D Avuçlarımda yanıp tutuşsun aşkına Bm Cmaj7 Sonra ellerin gelsin Bm Cmaj7 Dolaşsın saçlarımda Em Nefesindir nefesim Cmaj7 D Aramızdan geçmesin ne acı ne de veda
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Yıldız Tilbe - Peşindeyim Koşa Koşa Tabs
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Harmony analysis
Yıldız Tilbe – Peşindeyim Koşa Koşa: key and chord analysis
The song opens on Bm and ends on D. 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 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 | — |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 15× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IVmaj7 | Cmaj7 | Subdominant — moves away from home | C · E · G · B | 20× |
| V | D | Dominant — strongest pull home | D · F# · A | 5× |
| 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 | — |
| iv | Am | Subdominant — moves away from home | A · C · E | — |
| v | Bm | Minor dominant — soft pull | B · D · F# | 15× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VImaj7 | Cmaj7 | Submediant — warm colour | C · E · G · B | 20× |
| 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). 4 different chords appear 44 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
- Cmaj7 D GIVmaj7 → VIV → V EmVImaj7 → VIIVI → VII ×5
- Cmaj7 Em GIVmaj7 → vi EmVImaj7 → iVI → i ×4
The move to watch is Cmaj7 → D, heard 5 times. From the Em side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic); from the G side it reads IVmaj7 → V (IV → V: the lift that builds tension before home). 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 Cmaj7, land on C, E, G — the chord's own tones always sound right on strong beats.
- 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.
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
Starting on Bm, the song gives away its key from the very first bar. The backbone is Cmaj7, Bm, D, Em — IVmaj7–iii–V–vi from the G side, VImaj7–v–VII–i from the Em side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cmaj7 → D (IVmaj7 → V in G, VImaj7 → VII in Em): VI → VII — the rising step that heads for the tonic. The final chord is D; 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.
Yıldız Tilbe - Peşindeyim Koşa Koşa 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: Yıldız TilbeMusic: Yıldız TilbeArrangement: Devrim Karaoğlu
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