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)
Evrencan Gündüz - Dağlar Gider Yolunda - Chord
Key G major – E minor Chords Em, Am, Fmaj7, Dm, D, C, A Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Em D Am Am C Em Em Geldik yine cihana, vurdu piyango ozana Am Em Ozan yazdı da yazdı, derdinin devası mı Geldi yine sakınlar, çözemedi satırlar Am Fmaj7 Bir dost ona el verse, 40 yılın hatırı var Em Dm Em Bir dost ona el verse, 40 yılın hatırı var Em Dağlar gider yolunda, bende kendi yolumda Am Fmaj7 Dağ buldu da dağını, dağ buldu da dağını Em Dm Em Bende seni sonunda, bende seni sonunda A Açtı içimi duygular, bu hisler bu anılar Em Gelsin yine Aşık’lar, Veyseller ve Barışlar Am Fmaj7 Mevlam nasıl yaratmış, kaç baharı yaşatmış Em Dm Em Güneş bana doğdu yar, benden alası var mı? Em Dağlar gider yolunda, bende kendi yolumda Am Fmaj7 Dağ buldu da dağını, dağ buldu da dağını Em Dm Em Bende seni sonunda, bende seni sonunda
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Evrencan Gündüz - Dağlar Gider Yolunda Tabs
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Harmony analysis
Evrencan Gündüz – Dağlar Gider Yolunda: 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)
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 15 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 | 7× |
| V/V | A | Secondary dominant V/V — leads to Dsecondary dominant | A · C# · E | 1× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| 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 | 1× |
| v | Dm | Chromatic colour chordoutside the key | D · F · A | 4× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 15× |
| bVIImaj7 | Fmaj7 | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | F · A · C · E | 4× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 15× |
| bIImaj7 | Fmaj7 | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | F · A · C · E | 4× |
| 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 | 7× |
| IV | A | Major IV — Dorian / melodic-minor colourmodal colour | A · C# · E | 1× |
| v | Bm | Minor dominant — soft pull | B · D · F# | — |
| 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 | 1× |
| vii | Dm | Chromatic colour chordoutside the key | D · F · A | 4× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 7 different chords appear 33 times in total; 4 of them sit naturally inside the shared scale. A acts as a secondary dominant, briefly pointing at another chord of the key. Fmaj7 is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Am Em Gii → vi Emiv → iminor plagal ×1
- C Em GIV → vi EmVI → iVI → i ×1
The move to watch is Am → Em, heard once. 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 Fmaj7, land on F, A, C — the chord's own tones always sound right on strong beats.
- On Fmaj7, follow the chord's notes (F · A · C · E) rather than the key's scale — it's a borrowed colour.
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
The opening Em lays a solid floor for everything that follows. Em, Am, Fmaj7, Dm carry the song: vi–ii–bVIImaj7–v relative to G, i–iv–bIImaj7–vii relative to Em. A adds a moment of surprise: secondary dominant V/V — leads to D. Keep an ear on Am → Em (ii → vi in G, iv → i in Em): minor plagal — deep and melancholic. 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.
Evrencan Gündüz - Dağlar Gider Yolunda 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: Naz Özgülüş, Evrencan GündüzMusic: Naz Özgülüş, Evrencan GündüzArrangement: Evrencan Gündüz
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