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)
Ayten Alpman - Tek Başına - Chord
Key G major – E minor Chords Em, B, F#7, Am, G, D, B7 Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em Am D G Em F#7 B B Em
Em B
Uzun zamandır hasret kaldım yüzüne
G Am
Muhtacım inan senin bir tek sözüne
Em
Yalvarsam ağlasam kapansam dizine
F#7 B7
Döner miyiz yine eski günlere
F#7 B Em
Döner miyiz yine eski günlere
Em Am D G
Söyle buldun mu aradığın aşkı söyle
Em F#7
Yoksa yalnızmısın sen yine
B
Benim gibi boynu bükük
Em
Gözü yaşlı tek başına
Em B
Yine eskisi gibi beraber olsak
G Am
Ne olur sanki geçenleri unutsak
Em
Hayat bitse dünya dursa
F#7 B
Ölüm bile olsa biz hiç ayrılmasak
Em Am D G Em F#7 B B Em
End of song Play again?
Ayten Alpman - Tek Başına Tabs
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Harmony analysis
Ayten Alpman – Tek Başına: 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.
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 14 times against 5 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | 5× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 5× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | 9× |
| V7/vi | B7 | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# · A | 1× |
| IV | C | Subdominant — moves away from home | C · E · G | — |
| V | D | Dominant — strongest pull home | D · F# · A | 3× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 14× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| V7/iii | F#7 | Secondary dominant V/iii — leads to Bmsecondary dominant | F# · A# · C# · E | 6× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 14× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| V7/v | F#7 | Secondary dominant V/v — leads to Bmsecondary dominant | F# · A# · C# · E | 6× |
| III | G | Relative major — the bright side | G · B · D | 5× |
| iv | Am | Subdominant — moves away from home | A · C · E | 5× |
| 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# | 9× |
| V7 | B7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# · A | 1× |
| VI | C | Submediant — warm colour | C · E · G | — |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 3× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 7 different chords appear 43 times in total; 4 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 / B7 is V/vi, a secondary dominant heading for Em. F#7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- B Em GV/vi → vi EmV → iharmonic-minor cadence ×5
- F#7 B GV7/iii → V/visecondary resolution EmV7/v → V ×5
- D G GV → Iauthentic cadence EmVII → III ×3
- Am D Gii → Vii → V Emiv → VII ×3
- Am Em Gii → vi Emiv → iminor plagal ×2
- F#7 B7 GV7/iii → V7/visecondary resolution EmV7/v → V7 ×1
The move to watch is B → Em, heard 5 times. From the Em side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the G side it reads V/vi → 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 B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- Over F#7, land on F#, A#, C# — 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
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The opening Em lays a solid floor for everything that follows. The backbone is Em, B, F#7, Am — vi–V/vi–V7/iii–ii from the G side, i–V–V7/v–iv from the Em side. 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 B → Em (V/vi → vi in G, V → i in Em): harmonic-minor cadence — the major V resolves dramatically. 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.
Ayten Alpman - Tek Başına 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: Ülkü AkerMusic: Luigi Albertelli, Giancarlo Colonnello
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