Sakiler - Aşkım Aşkım - Chord

Key G major – E minor Chords Em, Am, B, Gmaj7, F#m, Bm, Cmaj7 Easy key C (capo 7)

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Capo 0

Em  Am  Am  Em

Em              Am
Cennetten çiçek topladım sana
                Em
Herkes aşk diye kıvranıp duruyorken
                  Am
Ben en saf halimi sakladım sana
                    Em
Sen deneyip deneyip yanılıyorken

Am                  Em
Kuruttuğum çiçekler tarih oldu derbeder
Am
İçimde bir ocak var
F#m          B       Em
Kim bilir ne gün söneer

Em               Bm
Aşkım aşkım diye ağlayacaksın
Cmaj7             Gmaj7
Başını taşlara hergün vuracaksın
Am                  Em
Sesini duyan yok ki anlayacaksın
F#m                   Gmaj7
Sen gittin şimdi sıra bende
Am         B          Em
Ben bittim şimdi sıra sende

Am                  Em
Kuruttuğum çiçekler tarih oldu derbeder
Am                  Em            B       Bm
İçimde bir ocak var, kim bilir ne gün söneer

Em               Bm
Aşkım aşkım diye ağlayacaksın
Cmaj7             Gmaj7
Başını taşlara hergün vuracaksın
Am                  Em
Sesini duyan yok ki anlayacaksın
F#m                   Gmaj7
Sen gittin şimdi sıra bende
Am         B          Em
Ben bittim şimdi sıra sende

End of song Play again?

Sakiler - Aşkım Aşkım Tabs

NotesX

Harmony analysis

Sakiler – Aşkım Aşkım: 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.

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)

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 15 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.

Seen from G major
Degree	Chord	Role	Notes	In song
Imaj7	Gmaj7	Tonic — home	G · B · D · F#	4×
ii	Am	Supertonic — prepares the dominant	A · C · E	12×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	3×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	4×
IVmaj7	Cmaj7	Subdominant — moves away from home	C · E · G · B	2×
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	15×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—
vii	F#m	Chromatic colour chordoutside the key	F# · A · C#	3×

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	15×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
ii	F#m	Chromatic colour chordoutside the key	F# · A · C#	3×
IIImaj7	Gmaj7	Relative major — the bright side	G · B · D · F#	4×
iv	Am	Subdominant — moves away from home	A · C · E	12×
v	Bm	Minor dominant — soft pull	B · D · F#	3×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	4×
VImaj7	Cmaj7	Submediant — warm colour	C · E · G · B	2×
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). 7 different chords appear 43 times in total; 5 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 B is V/vi, a secondary dominant heading for Em. F#m step outside the scale as colour chords.

Chord movement

Am Em Gii → vi Emiv → iminor plagal ×8
B Em GV/vi → vi EmV → iharmonic-minor cadence ×3
Cmaj7 Gmaj7 GIVmaj7 → Imaj7plagal cadence EmVImaj7 → IIImaj7 ×2
Am B Gii → V/vi Emiv → Viv → V ×2
Bm Em Giii → vi Emv → inatural-minor cadence ×1

The move to watch is Am → Em, heard 8 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 B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
When B 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, B, Gmaj7; read them as vi–ii–V/vi–Imaj7 in G or i–iv–V–IIImaj7 in Em. B is the interesting twist: in G it is a chromatic chord (V/vi), while in Em it becomes the dominant (V) 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. 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.