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)
Dia - Gitsen de - Chord
Key G major – E minor Chords Em, D, G, Cmaj7 Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Em D G Cmaj7
Em D
Yalan dolan bu kadar zaman
G
Nasıl anlayamam konduramam hala
Cmaj7
Senin benden gittiğini
Em D
Korkup soramam uzaktan uzaktan
G
Nereye kadar, kabul edemiyorum
Cmaj7
Ben herşeyin bittiğini
Em D
Korkusuz ol dön geri
G Cmaj7
Sanmıştım bende gelirsin geri
Em D
Gitsen de beni bırakma düşsemde
G
Gidemiyorum itsende beni
Cmaj7 Em
Bu yalancı aşkın tamiri yine sende
D
Bekledim bende ne çektim senden
G Cmaj7
Üstüme üstüme gelme haklı gibi
Em
Sonumuz bu muydu
D G
Bir yol bulurduk eğer isteseydii
Cmaj7
Beni sevebilseydii
Em
Suçlu muyum suçsuz mu
D G
Bildiğim tek şey iyi değilim
Cmaj7
İyi değilim
Em D
Korkusuz ol dön geri
G Cmaj7
Sanmıştım bende gelirsin geri
Em D
Gitsen de beni bırakma düşsemde
G
Gidemiyorum itsende beni
Cmaj7 Em
Bu yalancı aşkın tamiri yine sende
D
Bekledim bende ne çektim senden
G Cmaj7
Üstüme üstüme gelme haklı gibi
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Dia - Gitsen de Tabs
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Harmony analysis
Dia – Gitsen de: key and chord analysis
The song opens on Em and ends on Cmaj7. 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 opens on 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | 11× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | — |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IVmaj7 | Cmaj7 | Subdominant — moves away from home | C · E · G · B | 11× |
| V | D | Dominant — strongest pull home | D · F# · A | 11× |
| vi | Em | Relative minor — the melancholy side | 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 | 11× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 11× |
| 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# | — |
| VImaj7 | Cmaj7 | Submediant — warm colour | C · E · G · B | 11× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 11× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 4 different chords appear 44 times in total; 4 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- D G GV → Iauthentic cadence EmVII → III ×11
- Cmaj7 Em GIVmaj7 → vi EmVImaj7 → iVI → i ×10
The move to watch is D → G, heard 11 times. From the Em side it is VII → III; from the G side it reads V → I (authentic cadence: the strongest arrival home). 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 D, land on D, F#, A — 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.
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. The chords that keep coming back are Em, D, G, Cmaj7; read them as vi–V–I–IVmaj7 in G or i–VII–III–VImaj7 in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D → G (V → I in G, VII → III in Em): authentic cadence — the strongest arrival home. The final chord is Cmaj7; 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.
Dia - Gitsen de 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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