Duman - Teessüf Ederim - Chord

Key G major – E minor Chords Em, Am, B7 Easy key C (capo 7)

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Capo 0

Em  B7  Am  Em  Em  Am  Em
Em  B7  Am  Em  Em  Am  Em  B7  Em

Em    B7     Am   Em
Sev dedim de sevmedi
       B7  Am  Em
Bana boyun eğmedi
     B7  Am    Em
Ölüyorum dedim de
Am     Em  B7   Em
Bir öpücük vermedi

Em   B7    Am   Em
Sararmışım solmuşum
        B7   Am   Em
Ben güzele vurulmuşum
      B7    Am   Em
Kuş dili bilmez iken
Am    Em     B7  Em       B7
Şimdi bülbül olmuşum, bay be

Em         Am     Em
Her daim hayal ederim
  Am      Em       B7     Em
Belki bir gün sevgilin olurum
         Am     Em
Aşkımda inat ederim
Am    Em       B7     Em
İstemesen de seni bulurum
   B7            Em
Böyle teessüf ederim

Em  B7  Am  Em  Em  Am  B7  Em

Em    B7     Am   Em
Gel dedim de gelmedi
     B7   Am   Em
Öyle orda bekledi
      B7  Am    Em
Seviyorum dedim de
Am     Em    B7  Em
Yüzüme baktı esnedi

Em    B7     Am  Em
Yanmışım kül olmuşum
        B7   Am   Em
Ben güzele tutulmuşum
     B7    Am   Em
Üzüm ne bilmez iken
Am    Em    B7  Em       B7
Şimdi şarap olmuşum, vay be

Em         Am     Em
Her daim hayal ederim
  Am      Em       B7     Em
Belki bir gün sevgilin olurum
         Am     Em
Aşkımda inat ederim
Am    Em       B7     Em
İstemesen de seni bulurum
   B7            Em
Böyle teessüf ederim

Em  B7  Am  Em  Em  Am  B7  Em

Em    B7    Am   Em
Nazlı güzel zor olur
     B7   Am     Em
Uzun ince bir yoldur
       B7     Am   Em
Gel de gör şu kalbimi
Am    Em    B7  Em
Lafta seven çok olur

Em     B7  Am   Em
Baharı yok bu kışın
       B7  Am   Em
Kafesi yok bu kuşun
      B7    Am   Em
Yaktı kül etti beni
Am     Em  B7   Em       B7
İnsafı yok bu kızın, vay be

Em         Am     Em
Her daim hayal ederim
  Am      Em       B7     Em
Belki bir gün sevgilin olurum
         Am     Em
Aşkımda inat ederim
Am    Em       B7     Em
İstemesen de seni bulurum
   B7            Em
Böyle teessüf ederim

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Duman - Teessüf Ederim Tabs

NotesX

Harmony analysis

Duman – Teessüf Ederim: 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 77 times while G never appears 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
I	G	Tonic — home	G · B · D	—
ii	Am	Supertonic — prepares the dominant	A · C · E	44×
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	43×
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	77×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	77×
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	44×
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	43×
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). 3 different chords appear 164 times in total; 2 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 ×42
B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×21
Am B7 Gii → V7/vi Emiv → V7iv → V ×2

The move to watch is Am → Em, heard 42 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 B7, land on B, D#, F# — 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

Starting on Em, the song gives away its key from the very first bar. Em, Am, B7 carry the song: vi–ii–V7/vi relative to G, i–iv–V7 relative to 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. It closes on Em, letting the Em side have the last word.

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.