Emre Fel - Elveda - Chord

Key G major – E minor Chords Em, D, Am, G, C, Bm Difficulty already in its easiest key

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Capo 0

Em  Em  C  D  Em

Em          D         Em
Bir akşamüstü durdu zaman
               D           Em
Yar dedi gel bahar olsun hemen
Am                                   Em
İstedim vermediler bana, deli adam olmaz dediler
D             Em
Bilmeden taşlarlar
Am             Em              D        G    Em
Neler çektirdi bu zalim yollar anlatsam ağlarlar

Em                     D         Em
Hüznü sardı gönlüm yine yol göründü
                  D         Em
Tanırdım bu halim’ ilk değildi
Am                                   Em
Sevgimi görmediler, bana baharım’ göstermediler
D               Em
Sevgiden ne anlarlar
Am                   Em
Ne dağlardan aştım da nice düşlerden geçtim
D        G    Em
Anlatsam anlarlar belki

Em         D      Em      D
Ah güzelim yıllar merhaba hüsran
Am       D       Em
Dönülmez yollardayım
Am                  Em
Bu diyar bana düşman hâlım anlamazlar
D                Em
Sarılmaz hâllardayım
Am                  Em
Yar deli bin pişman diyor ah acımazlar
D          G    Em
E anlatsan anlarlar sanki

Em                    D      Em
Dedi “derdimi söyledim ama olmaz
                 D          Em
Anamdır ne edem” demiş uslanmaz
Am                    Em
İki canda bi’ ruh var e dedin ah acımazlar
D               G   Em
Görünmez bir vahayııım
Am             Em
Neler çektirdi bu güzelim yollar
D        G    Em
Anlatsam ağlarlar

Em          D         Em
Bir akşamüstü durdu zaman
               D           Em
Yar dedi gel bahar olsun hemen
Am                                     Em
“İstedin vermediler” dedi “sana adam olmaz dediler”
D             Em
Sevdadan anlamazlar
Am              Em
Gel gidelim aman bu dağlardan bahara
D          G    Em
Varamazsak avlarlar

Em      D      Em     D
Mezarım günler elveda dünyam
Am       D       Em
Dönülmez yollardayım
Am                    Em
Bu felekte yok hicran ah dönemem ki yolumdan
D               Em
Bilinmez diyardayım
Am                    Em
Sen üzülme de gül anam bana her gün bayram
D        Bm      Em
Kırılmaz dallardayım

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Emre Fel - Elveda Tabs

NotesX

Harmony analysis

Emre Fel – Elveda: 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.

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)

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 45 times against 6 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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	6×
ii	Am	Supertonic — prepares the dominant	A · C · E	14×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	1×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	1×
V	D	Dominant — strongest pull home	D · F# · A	27×
vi	Em	Relative minor — the melancholy side	E · G · B	45×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	45×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	6×
iv	Am	Subdominant — moves away from home	A · C · E	14×
v	Bm	Minor dominant — soft pull	B · D · F#	1×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	1×
VII	D	Subtonic — steps back to the tonic	D · F# · A	27×

Analysis

The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 94 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

D Em GV → videceptive cadence EmVII → iAeolian arrival ×18
Am Em Gii → vi Emiv → iminor plagal ×12
D G GV → Iauthentic cadence EmVII → III ×6
Am D Gii → Vii → V Emiv → VII ×2
C D GIV → VIV → V EmVI → VIIVI → VII ×1
Bm Em Giii → vi Emv → inatural-minor cadence ×1

The move to watch is D → Em, heard 18 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 Am, 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

The song is already written in its easiest key for guitar.

The song's harmonic story

Starting on Em, the song gives away its key from the very first bar. Em, D, Am, G carry the song: vi–V–ii–I relative to G, i–VII–iv–III relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D → Em (V → vi in G, VII → i in Em): Aeolian arrival — rises a whole tone into home. The final chord is Em; the ear comes to rest in Em.

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.