İkilem - Payton Geldi Meyhaneye Dayandı - Chord

Key G major – E minor Chords Bm, Cmaj7, Gmaj7, Am, Em, F#7, D Easy key C (capo 7)

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Capo 0

Em  Bm  Cmaj7  Gmaj7  F#7  Am  Bm  Cmaj7  D  Em
Em  Bm  Cmaj7  Gmaj7  F#7  Am  Bm

Bm           Cmaj7  D    Gmaj7  Am   Bm
Payton geldi meyhaaaneye daaaaaaaayandı
Em    Bm     Cmaj7 Gmaj7  F#7  Am   Bm
Siyah gömlek al kaanlara  booooooyandı
Bm          Cmaj7   D     Gmaj7  Am  Bm
Garib annem oy buna nasıl daaaaaaayandı

Em     Bm      Cmaj7  Gmaj7  F#7  Am   Bm  Cmaj7  D  Em
Ağlama çakırım alır   gideeeeriiiiim seni
Em   Bm   Cmaj7  Gmaj7  F#7  Am   Bm
Arar isen yar gönlünde  buuuuul beni

Bm        Cmaj7  D    Gmaj7  Am  Bm
Gide gide gitmez oldu diiiiizleeerim
Em  Bm     Cmaj7  Gmaj7  F#7  Am  Bm
Ağlamaktan görmez oldu   gööööözlerim
Bm         Cmaj7  D    Gmaj7  Am  Bm
Nazlı yare geçmez oldu sööööööözlerim

Em     Bm      Cmaj7  Gmaj7  F#7  Am   Bm  Cmaj7  D  Em
Ağlama çakırım alır   gideeeeriiiiim seni
Em   Bm   Cmaj7  Gmaj7  F#7  Am   Bm
Arar isen yar gönlünde  buuuuul beni

End of song Play again?

İkilem - Payton Geldi Meyhaneye Dayandı Tabs

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Harmony analysis

İkilem – Payton Geldi Meyhaneye Dayandı: key and chord analysis

The song opens on Em and ends on Bm. 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: we can't honestly pick a side here — the song moves freely between G major and E minor because it opens on Em and G is heard 12 times against 11 for Em. Try reading the chords both ways and see which feels more like home to you.

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
Imaj7	Gmaj7	Tonic — home	G · B · D · F#	12×
ii	Am	Supertonic — prepares the dominant	A · C · E	12×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	24×
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	15×
V	D	Dominant — strongest pull home	D · F# · A	7×
vi	Em	Relative minor — the melancholy side	E · G · B	11×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—
V7/iii	F#7	Secondary dominant V/iii — leads to Bmsecondary dominant	F# · A# · C# · E	8×

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	11×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
V7/v	F#7	Secondary dominant V/v — leads to Bmsecondary dominant	F# · A# · C# · E	8×
IIImaj7	Gmaj7	Relative major — the bright side	G · B · D · F#	12×
iv	Am	Subdominant — moves away from home	A · C · E	12×
v	Bm	Minor dominant — soft pull	B · D · F#	24×
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	15×
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). 7 different chords appear 89 times in total; 6 of them sit naturally inside the shared scale. F#7 acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Cmaj7 Gmaj7 GIVmaj7 → Imaj7plagal cadence EmVImaj7 → IIImaj7 ×8
Cmaj7 D GIVmaj7 → VIV → V EmVImaj7 → VIIVI → VII ×7
D Gmaj7 GV → Imaj7authentic cadence EmVII → IIImaj7 ×4
Bm Em Giii → vi Emv → inatural-minor cadence ×4
D Em GV → videceptive cadence EmVII → iAeolian arrival ×3

The move to watch is Cmaj7 → Gmaj7, heard 8 times. From the G side it reads IVmaj7 → Imaj7 (plagal cadence: the soft 'amen' ending); from the Em side it is VImaj7 → IIImaj7. 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 Cmaj7, land on C, E, G — the chord's own tones always sound right on strong beats.
Over Gmaj7, land on G, B, D — 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, Cmaj7, Gmaj7, Am — iii–IVmaj7–Imaj7–ii from the G side, v–VImaj7–IIImaj7–iv from the Em side. F#7 adds a moment of surprise: secondary dominant V/iii — leads to Bm. Keep an ear on Cmaj7 → Gmaj7 (IVmaj7 → Imaj7 in G, VImaj7 → IIImaj7 in Em): plagal cadence — the soft 'amen' ending. It closes on Bm, letting the G 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.