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)
Yüzyüzeyken Konuşuruz - Durmaz Akar - Chord
Key G major – E minor Chords Em, Am, Bm, D, C, B7, B Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em Am Bm Em
Ne sevdadan döndü başım ne kaybettim kendimi
Am Bm Am
Hepsi poz hepsi unutmak içindi halimi
D C D
Hayatım karpuz kabuğundan bozma bir tekne mi
C Em
Beni rüzgarsız bıraksın
Em Am Bm Em
Yoruldum yıktım dağıttım elimle kurduğumu
Am Bm Am
Bugün vazgeçtiğimi niye dünden sorduğumu
D C D
Her olup biteni böyle kadere yorduğumu
C Em B7
Anladım biraz utandım
Em Am
Bittim benden bu kadar akacak su durmaz akar
D B7 Em
Söylendiğim kader benim aptallığım
Am
Yansın yanacak gemiler dönmem çok uzak geriler
D B7 Em
Kaçtım kendi yoluma kalbim saklandığım
Am C
Bir yol var ki dönülmez gözyaşım da silinmez
B Em
Doğrusu hiç bilinmez ne kadar yaşayacağım
Em Am Bm Em Am Bm
End of song Play again?
Yüzyüzeyken Konuşuruz - Durmaz Akar Tabs
NotesX
Harmony analysis
Yüzyüzeyken Konuşuruz – Durmaz Akar: 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.
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 12 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 | 11× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 6× |
| V7/vi | B7 | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# · A | 3× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | 1× |
| IV | C | Subdominant — moves away from home | C · E · G | 5× |
| V | D | Dominant — strongest pull home | D · F# · A | 6× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 12× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 12× |
| 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 | 11× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 6× |
| V7 | B7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# · A | 3× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | 1× |
| VI | C | Submediant — warm colour | C · E · G | 5× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 6× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 7 different chords appear 44 times in total; 5 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 B7 / B is V7/vi, a secondary dominant heading for Em.
Chord movement
- Am D Gii → Vii → V Emiv → VII ×4
- B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×3
- Bm Em Giii → vi Emv → inatural-minor cadence ×3
- C D GIV → VIV → V EmVI → VIIVI → VII ×2
- C Em GIV → vi EmVI → iVI → i ×2
- B Em GV/vi → vi EmV → iharmonic-minor cadence ×1
The move to watch is Am → D, heard 4 times. From the Em side it is iv → VII; from the G side it reads ii → V (ii → V: the classic preparation of the dominant). 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 Am, land on A, C, E — 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.
- When B7 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
The song's harmonic story
Starting on Em, the song gives away its key from the very first bar. The backbone is Em, Am, Bm, D — vi–ii–iii–V from the G side, i–iv–v–VII from the Em side. B7 is the interesting twist: in G it is a chromatic chord (V7/vi), while in Em it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Am → D (ii → V in G, iv → VII in Em): ii → V — the classic preparation of the dominant. The final chord is Bm; 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.
Yüzyüzeyken Konuşuruz - Durmaz Akar 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: Kaan BoşnakMusic: Kaan BoşnakArrangement: Yüzyüzeyken Konuşuruz
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