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)
E) Hiçbiri - Sol Baştan - Chord
Key G major – E minor Chords Am, C, D, E, Em Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Am C Am C Am D Am E C Am
x2
Am C
Kurtulamıyorum senden
Am C
Kız bu güzellik nerden?
Am D E C Am
Çok yakışırdık of senle ben
Am C
Ah ne gelir ki elden
Am C
Aklımı aldın birden
Am D E C Am
Bak kaçamıyorum bu hislerimden
Am C Am C
Sevenler, sevilmeyenler
Am D Am E C Am
Bilenler, çığlık atsın!
Am C Am C
Duyanlar, duymayanlar
Am D Am E C Am
Bu yalanlar bitsin artık!
Am C Am
Şimdi say say say
C Am
Sol baştan
D Am E
En baştan kırmasaydın
C Am
Kalbimi banane!
Am C Am
Şimdi say say say
C Am
Sol baştan
D Am E
İlk bakıştan çalmasaydın
C Am
Kalbimi bana ver!
Am C Am C Am D Am E C Am
x2
Am C Am C
Sevenler, sevilmeyenler
Am D Am E C Am
Bilenler, çığlık atsın!
Am C Am C
Duyanlar, duymayanlar
Am D Am E C Am
Bu yalanlar bitsin artık!
Am C Am C Am D Am E C Am
x2
Am C
Pişmanmış birileri
D C Am
Olmakmış isteği
Am C
Sonsuza dek benimle
D C Am
Yok artık daha ne
Am C
Hak etmemiş beni
D C Am
Klişe sözleri
Am
Çok üzgünmüş bide
Hahahahaha
Em C Am
Bunlar hep bahane
Am C Am
Şimdi say say say!
End of song Play again?
E) Hiçbiri - Sol Baştan Tabs
NotesX
Harmony analysis
E) Hiçbiri – Sol Baştan: key and chord analysis
The song opens on Am and ends on Am. 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 1 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 | 63× |
| 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 | 41× |
| V | D | Dominant — strongest pull home | D · F# · A | 14× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 1× |
| V/ii | E | Secondary dominant V/ii — leads to Amsecondary dominant | E · G# · B | 11× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 1× |
| V/iv | E | Secondary dominant V/iv — leads to Amsecondary dominant | E · G# · B | 11× |
| 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 | 63× |
| 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 | 41× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 14× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 130 times in total; 4 of them sit naturally inside the shared scale. E acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Am D Gii → Vii → V Emiv → VII ×11
- C D GIV → VIV → V EmVI → VIIVI → VII ×3
- Am Em Gii → vi Emiv → iminor plagal ×1
The move to watch is Am → D, heard 11 times. From the Em side it is iv → VII; from the G side it reads ii → V (ii → V: the classic preparation of the dominant). 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over C, land on C, E, G — 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
The opening Am lays a solid floor for everything that follows. Am, C, D, E carry the song: ii–IV–V–V/ii relative to G, iv–VI–VII–V/iv relative to Em. E adds a moment of surprise: secondary dominant V/ii — leads to Am. Keep an ear on Am → D (ii → V in G, iv → VII in Em): ii → V — the classic preparation of the dominant. The final chord is Am; 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.
E) Hiçbiri - Sol Baştan 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: Batuhan Kayhan, Salih BaşaranMusic: Batuhan Kayhan, Salih BaşaranArrangement: E) Hiçbiri
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