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)
Melis Fis - Uyku Yok - Chord
Key G major – E minor Chords B, Em, Am Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em B
Geceler benden bıkana kadar
Em B
Tüm yıldızları sayana kadar
Em B
Sen beni gelip affedene kadar
Am B
Uyku yok, uyku yok bana
Em
Biraz konuşalım mı
B Am
Sesini duymadan uyumayı sevmediğimi biliyorsun
B
Güzelleştir rüyalarımı
Em
Sarılıp barışalım mı
B Am
Küs olsak da kollarında olmayı istediğimi biliyorsun
B
Sarayım açtığım yaralarını
Am Em
Farklı yerlerde aynı hislerle
Am Em
Gururumuz avucumuzun içinde
Am Em B
Bir haksız var iki de yalnız bu hikayede
Em B
Geceler benden bıkana kadar
Em B
Tüm yıldızları sayana kadar
Em B
Sen beni gelip affedene kadar
Am B
Uyku yok, uyku yok bana
Em B
Şişenin dibini görene kadar
Em B
Zemin altımdan kayana kadar
Em B
Sen beni gelip yine sevene kadar
Am B
Uyku yok, uyku yok bana
Em
Kırdım üzdüm hatalar yaptım
B
Fark etmeden ne canlar yaktım
Am B
Kaçmayı denesem de boşverdim çekerim artık cezamı
Em
Yeter ki sen gitme kal burada
B
Söz bu sefer yapmam hiç tantana
Am
Ne demem gerek daha
B
Bir şans vermen için bana
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Melis Fis - Uyku Yok Tabs
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Harmony analysis
Melis Fis – Uyku Yok: key and chord analysis
The song opens on Em and ends on B. 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 16 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# | — |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | 21× |
| IV | C | Subdominant — moves away from home | C · E · G | — |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| vi | Em | Relative minor — the melancholy side | E · G · B | 16× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 16× |
| 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# | — |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | 21× |
| VI | C | Submediant — warm colour | C · E · G | — |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | — |
Analysis
The key pair is G major and its relative E minor (1 sharp). 3 different chords appear 47 times in total; 2 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 B is V/vi, a secondary dominant heading for Em.
Chord movement
- B Em GV/vi → vi EmV → iharmonic-minor cadence ×12
- Am B Gii → V/vi Emiv → Viv → V ×7
- Am Em Gii → vi Emiv → iminor plagal ×3
The move to watch is B → Em, heard 12 times. From the Em side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the G side it reads V/vi → vi. 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 B, 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.
- When B 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
- 5 semitones up · capo 7 keeps the original pitch
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The first chord is Em; the ear learns where home is within a second. The backbone is B, Em, Am — V/vi–vi–ii from the G side, V–i–iv from the Em side. B is the interesting twist: in G it is a chromatic chord (V/vi), while in Em it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on B → Em (V/vi → vi in G, V → i in Em): harmonic-minor cadence — the major V resolves dramatically. The final chord is B; 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.
Melis Fis - Uyku Yok 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: Melis FisMusic: Melis FisArrangement: Melis Fis
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