Sezen Aksu - Ruhuma Asla - Chord

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

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Capo 0

Em  C  D  Bm

Bm                                     Am
Yetmez tacını tahtını bahtını versen yetmez
                                     Bm
Yetmez varını yoğunu çoğunu sersen yetmez
                                         Am
Eğmez başını bu yürek ölse çula çaputa eğmez
                                 Bm
Ruhum aşkın esiri başka esaret sevmez

Bm           C
Malımı al mülkümü al
     Am           Bm
Olsa gel samur kürkümü
                C
Yerimi yurdumu uykumu
Am          Bm
Tende en kuytumu al

     Em 
Ama senin değilim yar değilim
       C
Sebebi var bahanesi yok
    D
Üstelik divanen delinim
    Bm
Tam kalbime gelmedi ok

Em
Çekmişim isyan bayrağını
C          Am
Dalgalanır başımda hür
D
Sen diken sal üstüme üstüme
Bm
Bende deste deste gül

End of song Play again?

Sezen Aksu - Ruhuma Asla Tabs

NotesX

Harmony analysis

Sezen Aksu – Ruhuma Asla: 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: to us the song feels closer to the E minor side because it opens on Em and Em is heard 3 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	5×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	9×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	5×
V	D	Dominant — strongest pull home	D · F# · A	3×
vi	Em	Relative minor — the melancholy side	E · G · B	3×
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	3×
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	5×
v	Bm	Minor dominant — soft pull	B · D · F#	9×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	5×
VII	D	Subtonic — steps back to the tonic	D · F# · A	3×

Analysis

The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 25 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

C D GIV → VIV → V EmVI → VIIVI → VII ×2
Bm Em Giii → vi Emv → inatural-minor cadence ×2
Am D Gii → Vii → V Emiv → VII ×1

The move to watch is C → D, heard 2 times. From the Em side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the G side it reads IV → V (IV → V: the lift that builds tension before home). 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 C, land on C, E, G — 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

The opening Em lays a solid floor for everything that follows. The chords that keep coming back are Bm, C, Am, Em; read them as iii–IV–ii–vi in G or v–VI–iv–i in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → D (IV → V in G, VI → VII in Em): VI → VII — the rising step that heads for the tonic. 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.