Yedinci Ev - Şimdi - Chord

Key G major – E minor Chords Em, Cmaj7, D, Am Difficulty already in its easiest key

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Capo 0

Em  D  Cmaj7  Cmaj7

Em          Am               Cmaj7
 Söyledin bana gösterdin ama olmadı, seviyordum
Em          Am             Cmaj7
 Olmaz sanki yanlış dedim anlamadın, kızıyordun

Em
 Hani sondu
D              Cmaj7
 Hani bitecekti bu korkular

 Üzüntüler anlaşmazlıklar
 
Em
 Sen suçluydun
D               Cmaj7
 Ben suçluyum demedin mi?
                                                    Em
 Söyledin mi eski aşkına "ayrıldım ben hadi koş bana"

Em  D      Cmaj7
 Aaaaah şimdi hiç olmamış gibi
Em  D      Cmaj7
 Aaaaah şimdi istiyormuş gibi
Em  D      Cmaj7
 Aaaaah şimdi sen varmışsın gibi
Em    D            Cmaj7
 Ağlayamam ki omzunda

End of song Play again?

Yedinci Ev - Şimdi Tabs

NotesX

Harmony analysis

Yedinci Ev – Şimdi: key and chord analysis

The song opens on Em and ends on Cmaj7. Its chords belong to both G major and Em, so every chord below is read both ways.

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)

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 opens on Em and Em is heard 10 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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	—
ii	Am	Supertonic — prepares the dominant	A · C · E	2×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
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	10×
V	D	Dominant — strongest pull home	D · F# · A	7×
vi	Em	Relative minor — the melancholy side	E · G · B	10×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	10×
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	2×
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#	—
VImaj7	Cmaj7	Submediant — warm colour	C · E · G · B	10×
VII	D	Subtonic — steps back to the tonic	D · F# · A	7×

Analysis

The key pair is G major and its relative E minor (1 sharp). 4 different chords appear 29 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 Em GIVmaj7 → vi EmVImaj7 → iVI → i ×8

The move to watch is Cmaj7 → Em, heard 8 times. From the Em side it is VImaj7 → i (VI → i: falls a half step into home); from the G side it reads IVmaj7 → vi. 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 Cmaj7, land on C, E, G — 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

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. The chords that keep coming back are Em, Cmaj7, D, Am; read them as vi–IVmaj7–V–ii in G or i–VImaj7–VII–iv in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cmaj7 → Em (IVmaj7 → vi in G, VImaj7 → i in Em): VI → i — falls a half step into home. The final chord is Cmaj7; 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.