Seksendört - Son Mektup - Chord

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

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Capo 0

Em
Bırakmaz yakamı hiç bir aşk
                      D
Sonunda ne oldu bize bak
                    C
Ayrılmak için çok erken
          Am   D  C  Bm   D 
Yarım kalacak sevdalar  

Em                     
Ayrılmak için çok erken
                        D
Can dayanır mı buna derken
                         C
Başımı koyduğum kucak nerde
            Am  D  C   Bm   D 
Salıp kurtul beni derde 

Em   
Bedenden koptum bir pare
                    D
Elin de taş olacak bak
                    C
Yanındayken ben biçare
         Am   D   C  Bm   D 
Yaşanmaz olmuş  sevdalar  

Em
Saatler durmuş gözümde
                    D
Zaman yara çok derinde
                        C
Ellerim buz gibi oldu bak
         Am   D  C  Bm   D 
Ateş teninde nafile

Em     D    C     Bm

Em                D
Hasretlik çekilmiyor
                C
Bu soğuk gecelerde
                    B
Sensiz hiç yaşamadım ki
                Em
Bu köhne boş şehirde
                    D
Ah bir bilsen sevdiğim
                   C
Bu sana son mektubum
                 B
İster at ister oku
                    Em         
Ben yine sana mecburum

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Seksendört - Son Mektup Tabs

NotesX

Harmony analysis

Seksendört – Son Mektup: 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 8 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	4×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	5×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	2×
IV	C	Subdominant — moves away from home	C · E · G	11×
V	D	Dominant — strongest pull home	D · F# · A	15×
vi	Em	Relative minor — the melancholy side	E · G · B	8×
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	8×
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	4×
v	Bm	Minor dominant — soft pull	B · D · F#	5×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	2×
VI	C	Submediant — warm colour	C · E · G	11×
VII	D	Subtonic — steps back to the tonic	D · F# · A	15×

Analysis

The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 45 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.

Chord movement

D Em GV → videceptive cadence EmVII → iAeolian arrival ×4
Am D Gii → Vii → V Emiv → VII ×4
B Em GV/vi → vi EmV → iharmonic-minor cadence ×2
Bm Em Giii → vi Emv → inatural-minor cadence ×1

The move to watch is D → Em, heard 4 times. From the Em side it is VII → i (Aeolian arrival: rises a whole tone into home); from the G side it reads V → vi (deceptive cadence: expected G, lands on Em). 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 D, land on D, F#, A — the chord's own tones always sound right on strong beats.
Over C, land on C, E, G — 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.
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 opening Em lays a solid floor for everything that follows. D, C, Em, Bm carry the song: V–IV–vi–iii relative to G, VII–VI–i–v relative to 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 D → Em (V → vi in G, VII → i in Em): Aeolian arrival — rises a whole tone into home. 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.