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)
Batuhan Mutlugil - Veda Olsun - Chord
Key G major – E minor Chords D, Em, G, Am, Fmaj7, F#dim Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Em D G D Em
Em D G D Em
Kaldır bak yüzün aynada
Em D G D Em
Dönmüşsün deliye bin defa
Em D G D Em
Em D G D Em
Bir çizgi düşer aklına
Em D G D Em
Korkun yok ölümden yana
Am G D
Kay bet kendini
Am G D
El bet döner geri
Am G D
Sor ma halimi
G D Em
Al başına bir bela
Am F#dim
Adım adım çöken karanlığa
G D Em
Tuzak kuran günahlara
Am F#dim
Bitmeyen aşkın zehri sana
G D Em
Çare yok yalnızlığa
Fmaj7
Bir veda olsun
Em
Sanma dibe vurdum
Fmaj7
Bir veda olsun
Em
Aç gözün doysun
Am
Elveda dostum
Fmaj7
Sen neye vuruldun
D
Yolun açık olsun
Em D G D Em
Em D G D Em
Her bir gün geçer şansına
Em D G D Em
Yol ver gitsin bu şaşkına
Am G D
Kay bet kendini
Am G D
El bet döner geri
Am G D
Sor ma halimi
G D Em
Al başına bir bela
End of song Play again?
Batuhan Mutlugil - Veda Olsun Tabs
NotesX
Harmony analysis
Batuhan Mutlugil – Veda Olsun: 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 24 times against 19 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 | 19× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 9× |
| 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 | — |
| V | D | Dominant — strongest pull home | D · F# · A | 29× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 24× |
| bVIImaj7 | Fmaj7 | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | F · A · C · E | 3× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 24× |
| bIImaj7 | Fmaj7 | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | F · A · C · E | 3× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | 2× |
| III | G | Relative major — the bright side | G · B · D | 19× |
| iv | Am | Subdominant — moves away from home | A · C · E | 9× |
| 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 | — |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 29× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 86 times in total; 5 of them sit naturally inside the shared scale. Fmaj7 is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×14
- D G GV → Iauthentic cadence EmVII → III ×11
The move to watch is D → Em, heard 14 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 D, land on D, F#, A — 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 G, land on G, B, D — the chord's own tones always sound right on strong beats.
- On Fmaj7, follow the chord's notes (F · A · C · E) rather than the key's scale — it's a borrowed colour.
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 D, Em, G, Am; read them as V–vi–I–ii in G or VII–i–III–iv in Em. Fmaj7 briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). 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.
Batuhan Mutlugil - Veda Olsun 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: Batuhan MutlugilMusic: Batuhan Mutlugil
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