Gripin - Yalnızlığın Çaresini Bulmuşlar - Chord

Key G major – E minor Chords Em, D, C, Bm, Dsus4 Difficulty already in its easiest key

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Em          D
Susma sözlerin senin kadar güzel
  C                         Bm               Em
Tenin kadar keskin olsun, hazırım yaralanmaya
                 D
Ne farkeder bir sen eksik bir ben fazla
 C                       Bm              Em
Alışmışız mutsuzluğa, mutsuzluğa inanmaya

Em        Dsus4  D
Günahı boynu     ma

      Em                          D
Bir yalanı eksik bir, yalanı fazla
                         C                    Bm
Nasıl olsa döner dünya ister inan ister inanma
           D         Em
Yalnızlığın çaresini bulmuşlar

Em             D
Korkma artık yokum öldüm sizin için
   C                      Bm            Em
En başından kendim için hazırım yaşamaya
                 D
Ne fark eder bir sen eksik, bir ben fazla
    C                         Bm               Em
Bir fark varmı sensizlikle yalnızlığın arasında

Em        Dsus4  D
Günahı boynu     ma

      Em                          D
Bir yalanı eksik bir, yalanı fazla
                         C                    Bm
Nasıl olsa döner dünya ister inan ister inanma
           D         Em
Yalnızlığın çaresini bulmuşlar

End of song Play again?

Gripin - Yalnızlığın Çaresini Bulmuşlar Tabs

NotesX

Harmony analysis

Gripin – Yalnızlığın Çaresini Bulmuşlar: 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.

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 both starts and finishes on Em and Em is heard 12 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	—
iii	Bm	Mediant — a tonic-family shade	B · D · F#	6×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	6×
V	D	Dominant — strongest pull home	D · F# · A	10×
Vsus4	Dsus4	Dominant — strongest pull home	D · G · A	2×
vi	Em	Relative minor — the melancholy side	E · G · B	12×
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	12×
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#	6×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	6×
VII	D	Subtonic — steps back to the tonic	D · F# · A	10×
VIIsus4	Dsus4	Subtonic — steps back to the tonic	D · G · A	2×

Analysis

The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 36 times in total; 5 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

D Em GV → videceptive cadence EmVII → iAeolian arrival ×4
Bm Em Giii → vi Emv → inatural-minor cadence ×4

The move to watch is D → Em, heard 4 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 Em, land on E, G, B — 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

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 Em, D, C, Bm; read them as vi–V–IV–iii in G or i–VII–VI–v in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D → Em (V → vi in G, VII → i in Em): Aeolian arrival — rises a whole tone into home. It closes on Em, letting the Em side have the last word.

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.