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)
Emre Nalbantoğlu - Şiir Oldum - Chord
Key G major – E minor Chords F, G Easy key A
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Key: G | Em
Capo: 0
F G F G
F
Geziyorum gezegeni
G
Geceleri gönül gemim kalkar, buradan
F
Reçel olmuş acıların
G
Sürmelere doyulmuyor valla, Allalla
F
Dalgasına yüzüyorum batmam
G
Bir şey olmaz anca biraz sallar
F
Alışığım başlar yeni baştan
G
Yatamadım sarhoşluğum aşktan
F G F G
F
Gökyüzünün karasında
G
Yıldızların arasında süzülüyorum
F
Yoldaş oldum duyanlara
G
Şiir oldum duvarlara yazılıyorum
End of song Play again?
Emre Nalbantoğlu - Şiir Oldum Tabs
NotesX
Harmony analysis
Emre Nalbantoğlu – Şiir Oldum: key and chord analysis
The song opens on F and ends on G. 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 G major side because it comes to rest on G and G is heard 10 times while Em never appears. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.
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 | 10× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | — |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| III | B | Chromatic colour chordoutside the key | B · D# · F# | — |
| 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 | — |
| bVII | F | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | F · A · C | 10× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | — |
| bII | F | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | F · A · C | 10× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 10× |
| iv | Am | Subdominant — moves away from home | A · C · E | — |
| 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 | — |
| 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). 2 different chords appear 20 times in total; 1 of them sit naturally inside the shared scale. F is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- F G GbVII → IbVII → I EmbII → III ×10
The move to watch is F → G, heard 10 times. From the G side it reads bVII → I (bVII → I: a rock / Mixolydian arrival); from the Em side it is bII → III. 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 F, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
- On F, follow the chord's notes (F · A · C) 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
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
Starting on F, the song gives away its key from the very first bar. The backbone is F, G — bVII–I from the G side, bII–III from the Em side. F briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on F → G (bVII → I in G, bII → III in Em): bVII → I — a rock / Mixolydian arrival. The final chord is G; the ear comes to rest in G.
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.
Emre Nalbantoğlu - Şiir Oldum 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: Emre NalbantoğluMusic: Emre Nalbantoğlu
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