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)
KÖFN - Dün - Chord
Key G major – E minor Chords Bm7, Am7, Em7, Cmaj7, Gmaj7, D Easy key C (capo 7)
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Key: G | Em
Capo: 0
Cmaj7 Gmaj7 Cmaj7 Gmaj7
Cmaj7 Gmaj7
Dün, dünle gitti işte gülüm
Cmaj7 Gmaj7
Beni sana yazdığından beri sorgusuzca senle meşgulüm
Am7 Bm7
Aşk, takıntı falan bilmem ne
Am7 Em7 Bm7
Sen geldiğinden beri hep mutluluk açmış şu yüzümmmmde
Am7 Em7 Bm7
Güzel, güzel, güzel öpüşün olacak
Am7 Em7 Bm7
Durup, durup, durup yeniden yakacaaaak
Am7
Kim bilir kaç şeyi sende değiştirdim
Em7 Bm7
Yazdığım kalbimi senle birleştirdim
Am7
Yanıma yatağıma geldin iyileştirdin
Em7 Bm7
Geçmedi bitmedi ben
Am7 Em7 Bm7
Aşamadım, tenini yaşamadıım
Am7 Em7 Bm7
Aşamadım, tenini yaşamadıım
Em7 Bm7 Am7 Bm7
Em7 D
Kim bilir kaç şeyi sende değiştirdim
Cmaj7 D
Yazdığım kalbimi senle birleştirdim
Am7 Bm7
Yanıma yatağıma geldin iyileştirdin
Cmaj7 D
Geçmedi bitmedi ben
Am7 Em7 Bm7
Aşamadım, tenini yaşamadıım
Am7 Em7 Bm7
Aşamadım, tenini yaşamadıım
Em7 Bm7 Am7 Bm7
End of song Play again?
KÖFN - Dün Tabs
NotesX
Harmony analysis
KÖFN – Dün: key and chord analysis
The song opens on Cmaj7 and ends on Bm7. 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 Em is heard 12 times against 4 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 |
|---|---|---|---|---|
| Imaj7 | Gmaj7 | Tonic — home | G · B · D · F# | 4× |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 13× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 15× |
| 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 | 6× |
| V | D | Dominant — strongest pull home | D · F# · A | 3× |
| vi7 | Em7 | Relative minor — the melancholy side | E · G · B · D | 12× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Em7 | Tonic — home | E · G · B · D | 12× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| IIImaj7 | Gmaj7 | Relative major — the bright side | G · B · D · F# | 4× |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 13× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 15× |
| 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 | 6× |
| 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). 6 different chords appear 53 times in total; 6 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
- Am7 Em7 Gii7 → vi7 Emiv7 → i7minor plagal ×9
- Cmaj7 Gmaj7 GIVmaj7 → Imaj7plagal cadence EmVImaj7 → IIImaj7 ×4
- Bm7 Em7 Giii7 → vi7 Emv7 → i7natural-minor cadence ×3
- Cmaj7 D GIVmaj7 → VIV → V EmVImaj7 → VIIVI → VII ×2
The move to watch is Am7 → Em7, heard 9 times. From the Em side it is iv7 → i7 (minor plagal: deep and melancholic); from the G side it reads ii7 → vi7. 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 Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Em7, land on E, G, B — 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 first chord is Cmaj7; the ear learns where home is within a second. Bm7, Am7, Em7, Cmaj7 carry the song: iii7–ii7–vi7–IVmaj7 relative to G, v7–iv7–i7–VImaj7 relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am7 → Em7 (ii7 → vi7 in G, iv7 → i7 in Em): minor plagal — deep and melancholic. It closes on Bm7, 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.
KÖFN - Dün 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: Salman TinMusic: Salman TinArrangement: BKE
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