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)
İrem Derici - Yaz Gülü (Akustik) - Chord
Key G major – E minor Chords Bm7, Em7, Am7, D, Cmaj7, D7 Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em7 D Dans etmez mi, hallenmez mi Bm7 Am7 Bm7 Kaldım dımdızlak aşk geldi Em7 D Ellerimden, tut belimden Bm7 Am7 Bm7 Savrulsun dünyam yerinden Cmaj7 Yak beni de, beni en güzel ateşine Bm7 Söz seninim, gelirim en beterine Am7 Yazlarına kışına talibim ama Bm7 Bir yaz gülü gibi hisli ve ince Cmaj7 Bm7 Am7 Bm7 D7 Em7 Kendimi buldum yanında Bm7 Ses etmesem de anladın hatta Em7 Keşkeleri döksem yoluna Bm7 Çarpıyor kalbim, durmasın asla Em7 D Dans etmez mi, hallenmez mi Bm7 Am7 Bm7 Kaldım dımdızlak aşk geldi Em7 D Ellerimden, tut belimden Bm7 Am7 Bm7 Savrulsun dünyam yerinden
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İrem Derici - Yaz Gülü (Akustik) Tabs
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Harmony analysis
İrem Derici – Yaz Gülü (Akustik): key and chord analysis
The song opens on Em7 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 it opens on Em and Em is heard 6 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | — |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 6× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 14× |
| 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 | 2× |
| V | D | Dominant — strongest pull home | D · F# · A | 4× |
| V7 | D7 | Dominant — strongest pull home | D · F# · A · C | 1× |
| vi7 | Em7 | Relative minor — the melancholy side | E · G · B · D | 6× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Em7 | Tonic — home | E · G · B · D | 6× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 6× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 14× |
| 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 | 2× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 4× |
| VII7 | D7 | Subtonic — steps back to the tonic | D · F# · A · C | 1× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 33 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
- Bm7 Em7 Giii7 → vi7 Emv7 → i7natural-minor cadence ×4
- D7 Em7 GV7 → vi7deceptive cadence EmVII7 → i7Aeolian arrival ×1
The move to watch is Bm7 → Em7, heard 4 times. From the Em side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the G side it reads iii7 → 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 Em7, land on E, G, B — 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.
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 Em7, the song gives away its key from the very first bar. Bm7, Em7, Am7, D carry the song: iii7–vi7–ii7–V relative to G, v7–i7–iv7–VII relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm7 → Em7 (iii7 → vi7 in G, v7 → i7 in Em): natural-minor cadence — gentle, modal arrival. 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.
İrem Derici - Yaz Gülü (Akustik) 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: OnurrMusic: OnurrArrangement: Coşkun Ekşi
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