Ebru Gündeş - Dün Gece Resmini Öptüm de Yattım - Chord

Key G major – E minor Chords Bm, Em, Am, Cmaj7, D, G, Am7, Bm7 Easy key C (capo 7)

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Capo 0

Em  Em  Bm  Bm  Cmaj7  Cmaj7  Am  D  Bm

Em              Bm
Yalnızdım bir tanem yine dün akşam
Em            D            Em
Hep seni düşündüm hep seni andım
Am         Bm     Cmaj7
Dayanılmaz bir şeyy oldu hasretin
D     Cmaj7     Am        Bm
Dün gece resmini öptüm de yattım

Bm  Cmaj7  Am7  D  Bm7  D

G           Em            Bm
Derdime dermanı bulayım diye
                  D          Em
Bir parça mutluluk duyayım diye
             Am          Bm
Rüyamda seninle olayım diye
Cmaj7           Am        Bm
Dün gece resmini öptüm de yattım

G           Am      Bm    D
Derdime dermanı bulayım diye
                Em           Cmaj7
Bir parça mutluluk duyayım diye
             Am          Cmaj7
Rüyamda seninle olayım diye
                Am        Bm
Dün gece resmini öptüm de yattım

Em  Em  Bm  Bm  Cmaj7  Cmaj7  Am  D  Bm

Em              Bm
Düşlere daldıkça doldu gözlerim
Em         D           Em
Elini aradı bomboş ellerim
Am      Bm   Cmaj7
Gönlümü avutmak için sevgilim
D     Cmaj7     Am        Bm
Dün gece resmini öptüm de yattım

G           Em            Bm
Derdime dermanı bulayım diye
                  D          Em
Bir parça mutluluk duyayım diye
             Am          Bm
Rüyamda seninle olayım diye
Cmaj7           Am        Bm
Dün gece resmini öptüm de yattım

G           Am      Bm    D
Derdime dermanı bulayım diye
                Em           Cmaj7
Bir parça mutluluk duyayım diye
             Am          Cmaj7
Rüyamda seninle olayım diye
                Am        Bm
Dün gece resmini öptüm de yattım

Cmaj7           Am        Bm     Em
Dün gece resmini öptüm de yattım

End of song Play again?

Ebru Gündeş - Dün Gece Resmini Öptüm de Yattım Tabs

NotesX

Harmony analysis

Ebru Gündeş – Dün Gece Resmini Öptüm de Yattım: 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 17 times against 4 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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	4×
ii	Am	Supertonic — prepares the dominant	A · C · E	17×
ii7	Am7	Supertonic — prepares the dominant	A · C · E · G	1×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	24×
iii7	Bm7	Mediant — a tonic-family shade	B · D · F# · A	1×
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	16×
V	D	Dominant — strongest pull home	D · F# · A	12×
vi	Em	Relative minor — the melancholy side	E · G · B	17×
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	17×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	4×
iv	Am	Subdominant — moves away from home	A · C · E	17×
iv7	Am7	Subdominant — moves away from home	A · C · E · G	1×
v	Bm	Minor dominant — soft pull	B · D · F#	24×
v7	Bm7	Minor dominant — soft pull	B · D · F# · A	1×
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	16×
VII	D	Subtonic — steps back to the tonic	D · F# · A	12×

Analysis

The key pair is G major and its relative E minor (1 sharp). 8 different chords appear 92 times in total; 8 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 ×6
Bm Em Giii → vi Emv → inatural-minor cadence ×6
Am D Gii → Vii → V Emiv → VII ×2
Cmaj7 D GIVmaj7 → VIV → V EmVImaj7 → VIIVI → VII ×2
D G GV → Iauthentic cadence EmVII → III ×1
Am7 D Gii7 → Vii → V Emiv7 → VII ×1

The move to watch is D → Em, heard 6 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 Bm, land on B, D, F# — 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.

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 Em, the song gives away its key from the very first bar. The backbone is Bm, Em, Am, Cmaj7 — iii–vi–ii–IVmaj7 from the G side, v–i–iv–VImaj7 from the Em side. 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. 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.