İkilem - Takıldım Sana - Chord

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

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Em  Bm  Am  Bm

G
Bu kadar zor mu ki gelmek
Em        Bm
Gözüm hep yollardayken
Em      Bm          Am
Deliriyorum artık seni
        Em
Düşünmekten

G
Zaten hayat koca bir hiç
Em      Bm
Gel kaçalım tut elimden
Em       Bm             Am
Çıkmıyor o gülüşün aklımdan
         Em
Neden bilmem

Em               Bm
Sen yine geçip giderken
Am                  Bm
Bir sızı giriyor şu kalbe
Em              Bm
Günler haftalar aylar geçse de
Am            Bm
Takıldım sana bi kere
x2

Em  Bm  Am  Bm  Em  Bm  Am  Em
x2

G
Korkuyorum yarınımdan
Em      Bm
Gülüşün bana umut olsa
Em     Bm             Am
Ah güzelim çıkarım belki
           Em
Bu karanlıktan

G
Zaten hayat koca bir hiç
Em      Bm
Gel kaçalım tut elimden
Em       Bm             Am
Çıkmıyor o gülüşün aklımdan
         Em
Neden bilmem

Em               Bm
Sen yine geçip giderken
Am                  Bm
Bir sızı giriyor şu kalbe
Em              Bm
Günler haftalar aylar geçse de
Am            Bm
Takıldım sana bi kere

End of song Play again?

İkilem - Takıldım Sana Tabs

NotesX

Harmony analysis

İkilem – Takıldım Sana: key and chord analysis

The song opens on Em and ends on Bm. 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)

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 and Em is heard 20 times against 4 for G. 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	4×
ii	Am	Supertonic — prepares the dominant	A · C · E	11×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	21×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
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	20×
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	20×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	4×
iv	Am	Subdominant — moves away from home	A · C · E	11×
v	Bm	Minor dominant — soft pull	B · D · F#	21×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
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). 4 different chords appear 56 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

Bm Em Giii → vi Emv → inatural-minor cadence ×8
Am Em Gii → vi Emiv → iminor plagal ×5

The move to watch is Bm → Em, heard 8 times. From the Em side it is v → i (natural-minor cadence: gentle, modal arrival); from the G side it reads iii → 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 Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
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.

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. Bm, Em, Am, G carry the song: iii–vi–ii–I relative to G, v–i–iv–III relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm → Em (iii → vi in G, v → i in Em): natural-minor cadence — gentle, modal arrival. It closes on Bm, letting the G 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.