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)
Yüksek Sadakat - Yeniköy - Chord
Key G major – E minor Chords Em, Am, D, Bm, C, Fdim Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Am Em Bm
Çok uzun gemiler geçiyor boğazdan
C Em Bm
Boğazımda düğümlenir adın birazdan
Em
Güneş batar
Am Em Bm C
Am Em D
Martıların doymak bilmez çığlıkları
Am Em D
İçimde durmak bilmeyen açlık sen
C Am Em
Kısa sürüyor günler sensiz
Am
Yeniköy’de evim
Em
Eski köye yeni adet
D
Bi' sevgilim var benim
Em
Düşlerimden ibaret
Fdim
Düşlerimden ibaret
Am Em
Tepede yeşil koruluk
D Em
Korunuyor insandan
Am Em
Uzaktan kalbim gibi duruyor
D
Korunuyor insandan
C Am
Uzaktan bakınca sanki
Em
Yaşamak güzel
Bm Am Bm
İçime sormam, içime sormam
D
İçime soramam
End of song Play again?
Yüksek Sadakat - Yeniköy Tabs
NotesX
Harmony analysis
Yüksek Sadakat – Yeniköy: key and chord analysis
The song opens on Am and ends on D. 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 13 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 | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 10× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 5× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 4× |
| V | D | Dominant — strongest pull home | D · F# · A | 6× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 13× |
| bvii° | Fdim | Chromatic colour chordoutside the key | F · Ab · Cb | 1× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 13× |
| bii° | Fdim | Chromatic colour chordoutside the key | F · Ab · Cb | 1× |
| 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# | 5× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 4× |
| 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). 6 different chords appear 39 times in total; 5 of them sit naturally inside the shared scale. Fdim step outside the scale as colour chords.
Chord movement
- Am Em Gii → vi Emiv → iminor plagal ×9
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×2
- C Em GIV → vi EmVI → iVI → i ×1
- Bm Em Giii → vi Emv → inatural-minor cadence ×1
The move to watch is Am → Em, heard 9 times. From the Em side it is iv → i (minor plagal: deep and melancholic); from the G side it reads ii → 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 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 D, land on D, F#, A — 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 Am, the song gives away its key from the very first bar. The backbone is Em, Am, D, Bm — vi–ii–V–iii from the G side, i–iv–VII–v from the Em side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am → Em (ii → vi in G, iv → i in Em): minor plagal — deep and melancholic. It closes on D, 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.
Yüksek Sadakat - Yeniköy 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: Feridun DüzağaçMusic: Feridun DüzağaçArrangement: Yüksek Sadakat
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