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)
Fatma Aydoğan - Küsüp Gitti - Chord
Key G major – E minor Chords Em, Am, F#dim, B7, G Easy key C (capo 7)
No ratings yet
or your user informations
Make it yours
Text size
Key: G | Em
Capo: 0
Em Am Em G Am Em
Göy üzündə ay dolanır, yerdə gülür gül çiçək
Am Em F#dim B7 Em
Görən haçan birdə yarım qapımızdan keçəcək
Am Em F#dim B7 Em
Görən haçan birdə yarım qapımızdan keçəcək
Em Am Em G Am Em
Küsüb getdi yarım mənim, yollar batdı dumana
Am Em F#dim B7 Em
Axı niyə öz eşqimi düz demədim mən ona
Am Em F#dim B7 Em
Axı niyə öz eşqimi düz demədim mən ona
Em Am Em G Am Em
Göydəki o tənha ulduz, sanki məni andırır
Am Em F#dim B7 Em
Düşündükcə hicran odu ürəyimi yandırır
Düşündükcə hicran odu ürəyimi yandırır
Em Am Em G Am Em
Baxacaq mı görən gəlib, pəncərəmə bir də, yar
Am Em F#dim B7 Em
Ürəyimi saldı mənim bir sağalmaz dərdə, yar
Am Em F#dim B7 Em
Ürəyimi saldı mənim bir sağalmaz dərdə, yar
Bəlkə indi qəm içində baxır o da yollara
Axı niyə öz eşqimi düz demədim mən yara
Axı niyə öz eşqimi düz demədim mən yara
End of song Play again?
Fatma Aydoğan - Küsüp Gitti Tabs
NotesX
Harmony analysis
Fatma Aydoğan – Küsüp Gitti: 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.
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 both starts and finishes on Em, Em is heard 26 times against 4 for G 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 | 4× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 15× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V7/vi | B7 | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# · A | 7× |
| IV | C | Subdominant — moves away from home | C · E · G | — |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| vi | Em | Relative minor — the melancholy side | E · G · B | 26× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | 7× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 26× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | 7× |
| III | G | Relative major — the bright side | G · B · D | 4× |
| iv | Am | Subdominant — moves away from home | A · C · E | 15× |
| v | Bm | Minor dominant — soft pull | B · D · F# | — |
| V7 | B7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# · A | 7× |
| VI | C | Submediant — warm colour | C · E · G | — |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | — |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 59 times in total; 4 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 is V7/vi, a secondary dominant heading for Em.
Chord movement
- Am Em Gii → vi Emiv → iminor plagal ×15
- B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×7
- F#dim B7 Gvii° → V7/vi Emii° → V7ii° → V ×7
The move to watch is Am → Em, heard 15 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 F#dim, land on F#, A, C — 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
The first chord is Em; the ear learns where home is within a second. The chords that keep coming back are Em, Am, F#dim, B7; read them as vi–ii–vii°–V7/vi in G or i–iv–ii°–V7 in Em. 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 → Em (ii → vi in G, iv → i in Em): minor plagal — deep and melancholic. Ending on Em, the song seals Em as home.
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.
Fatma Aydoğan - Küsüp Gitti 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.
Repertoires with this song
Similar songs, ready to play: pick a list.
Lyrics: Aslan AslanovMusic: Andrey Babayev
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.