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)
Zeynep Bastık - Yine Yazı Bekleriz (Kubilay Aka) - Chord
Key G major – E minor Chords D, Em, Am, C, Bm, B7 Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Em
Ah ne çok özledim seni
D
Bir bilsen ah, bir görsen
Am
Sonbaharlarım gelir
D C
O yaprak hiç düşmez
Em
Hepsi bitti, hepsi bitti
D
Hepsi kaybolan günlerdi
Am
Bir yalnız sen, bir yalnız ben
D C D Em B7
Bizi ne nasıl tüketti ki
Em
Belki unuturuz onu
Bm
Tüm kasımdan kalma çiçekler gibi
Am
Arasına koyarız şarkı yazdığımız
Em Am C D
Kırık hayaller saklı defterin
Em
Belki de saklarız onu
Bm
Kalbimizde bir delik açar gibi
D Am D
Belki denize ulaşır, içimizdeki nehirler bir gün
Yine yazı bekleriz
C D Em B7
Em
Ah ne çok özledim seni
D
Bir bilsen ah, bir görsen
Am
Sonbaharlarım gelir
D C
O yaprak hiç düşmez
Em
Seni bekler yağmurlarım
D
Öyle bir yağar ki hiç dinmez
Am
Sonra yedi bahar geçer
D C
O yaz hiç, hiç gelmez
Em
Belki unuturuz onu
Bm
Tüm kasımdan kalma çiçekler gibi
Am
Arasına koyarız şarkı yazdığımız
Em Am C D
Kırık hayaller saklı defterin
Em
Belki de saklarız onu
Bm
Kalbimizde bir delik açar gibi
D Am D
Belki denize ulaşır, içimizdeki nehirler bir gün
Yine yazı bekleriz
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Zeynep Bastık - Yine Yazı Bekleriz (Kubilay Aka) Tabs
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Harmony analysis
Zeynep Bastık – Yine Yazı Bekleriz (Kubilay Aka): key and chord analysis
The song opens on Em 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)
- #7 = D# (harmonic-minor leading tone from the V chord)
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, Em is heard 12 times while G never appears and the major V chord points straight at Em. 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 | 10× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 4× |
| V7/vi | B7 | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# · A | 2× |
| IV | C | Subdominant — moves away from home | C · E · G | 7× |
| V | D | Dominant — strongest pull home | D · F# · A | 16× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 12× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| 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 | 10× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 4× |
| V7 | B7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# · A | 2× |
| VI | C | Submediant — warm colour | C · E · G | 7× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 16× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 51 times in total; 5 of them sit naturally inside the shared scale. The major V of Em brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from G, the same B7 is V7/vi, a secondary dominant heading for Em.
Chord movement
- Am D Gii → Vii → V Emiv → VII ×6
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×4
- C D GIV → VIV → V EmVI → VIIVI → VII ×4
- C Em GIV → vi EmVI → iVI → i ×3
- B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×2
- Am Em Gii → vi Emiv → iminor plagal ×2
The move to watch is Am → D, heard 6 times. From the Em side it is iv → VII; from the G side it reads ii → 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 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- When B7 comes, swap the scale's D for D#: that single note is the harmonic-minor sound of the chord.
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 backbone is D, Em, Am, C — V–vi–ii–IV from the G side, VII–i–iv–VI from the Em side. B7 is the interesting twist: in G it is a chromatic chord (V7/vi), while in Em it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Am → D (ii → V in G, iv → VII in Em): ii → V — the classic preparation of the dominant. 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.
Zeynep Bastık - Yine Yazı Bekleriz (Kubilay Aka) 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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