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)
Yok Öyle Kararlı Seyler - Ben Bana - Chord
Key G major – E minor Chords Em, D, Bm, A, Am, C, G Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em Bm A Em
Em D
Ben bana bir şey yaptım
Em D
Kendime tuzak kurdum
Em D Em D
Karşıma geçtim oturup bekledim
Em D Em D
Yakalayana kadar yakalanana kadar
Em D Em
Kendime uzak durdum ve bekledim
Em Bm A Em Em G A Em
Em D
Yine hata yaptım
Em D
Bir düşün altına girdim
Em D Em D
Hiçbirinin peşine düşmedim
Em D Em D
Kovalayana kadar kovalanana kadar
Em D Em
Her birini tek tek düşledim
Am
Sonunda vazgeçtim
Em
Kendi sessiz savaşımda
C Bm Am
Hala kim se değilim ben
Em
Yapılacak çok hatam var
Em C Bm Am
So nun da çark ettim
Em
Uçurum kenarında
C Bm Am
Hala kim se değilim ben
Em
Yapılacak çok hatam var
Em
Ben bana bir şey yaptım
Bm
Kendimi bir şey sandım
A Em
Sandığımı derine gizledim
G
Yaralayana kadar, yaralanana kadar
A Em
Kendime zarar vermek istedim
End of song Play again?
Yok Öyle Kararlı Seyler - Ben Bana Tabs
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Harmony analysis
Yok Öyle Kararlı Seyler – Ben Bana: 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.
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 30 times against 2 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | 2× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 4× |
| V/V | A | Secondary dominant V/V — leads to Dsecondary dominant | A · C# · E | 5× |
| 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 | 3× |
| V | D | Dominant — strongest pull home | D · F# · A | 14× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 30× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 30× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 2× |
| iv | Am | Subdominant — moves away from home | A · C · E | 4× |
| IV | A | Major IV — Dorian / melodic-minor colourmodal colour | A · C# · E | 5× |
| 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 | 3× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 14× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 7 different chords appear 64 times in total; 6 of them sit naturally inside the shared scale. A acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×14
- Am Em Gii → vi Emiv → iminor plagal ×4
The move to watch is D → Em, heard 14 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 Bm, land on B, D, F# — 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 chords that keep coming back are Em, D, Bm, A; read them as vi–V–iii–V/V in G or i–VII–v–IV in Em. A adds a moment of surprise: secondary dominant V/V — leads to D. 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.
Yok Öyle Kararlı Seyler - Ben Bana 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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Lyrics: Erdem TopsakalMusic: Erdem TopsakalArrangement: Yok Öyle Kararlı Seyler
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