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)
Dolu Kadehi Ters Tut - Bizi Bırakma - Chord
Key G major – E minor Chords Em7, D, Cmaj7, Am7, Bm7 Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em7 Bm7
Hayali bile acısına eş
D Am7
Mahveder beni bu yaktığın ateş
Em7 Bm7
İzin ver de kollarında söneyim
D Am7
Bak gör halimi dağılmış haldeyim
Em7
Bizi bırakma, bizi bırakma
D Cmaj7
Elimi tut ve yüzümü okşa
Em7
Her nefeste her bakışta
D Cmaj7
Yardım et de, bizi bırakma
Em7 Cmaj7 Em7 Cmaj7
Em7 Bm7
Yer yarılsa içinde kaybolsak
D
Nefes alıp durulsak
Am7
Hiç bitmesek, bi yere gitmesek
Em7
Herkese uzak, bize yakın olsak
Em7 Bm7
Ya da derin denizlere dalıp gideriz
D Am7
Dalgalar taşır durursa kalbimiz
Em7
Bizi bırakma, bizi bırakma
D Cmaj7
Elimi tut ve yüzümü okşa
Em7
Her nefeste her bakışta
D Cmaj7
Yardım et de, bizi bırakma
Am7
Zaten bana ne kalmış
Cmaj7
Ben bile biterken
Am7
Hadi suç benim olsun, gururum izlerken
Ama gitmek için erken
Cmaj7
Ya da götür beni giderken
D
Herşeyi alıp da
Em7
Bizi bırakma, bizi bırakma
D Cmaj7
Elimi tut ve yüzümü okşa
Em7
Her nefeste her bakışta
D Cmaj7
Yardım et de, bizi bırakma
End of song Play again?
Dolu Kadehi Ters Tut - Bizi Bırakma Tabs
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Harmony analysis
Dolu Kadehi Ters Tut – Bizi Bırakma: key and chord analysis
The song opens on Em7 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 and Em is heard 13 times while G never appears. 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 | — |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 6× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 4× |
| 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 | 10× |
| V | D | Dominant — strongest pull home | D · F# · A | 11× |
| vi7 | Em7 | Relative minor — the melancholy side | E · G · B · D | 13× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Em7 | Tonic — home | E · G · B · D | 13× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 6× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 4× |
| 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 | 10× |
| 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). 5 different chords appear 44 times in total; 5 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
- Cmaj7 Em7 GIVmaj7 → vi7 EmVImaj7 → i7VI → i ×6
- Am7 Em7 Gii7 → vi7 Emiv7 → i7minor plagal ×4
- D Em7 GV → vi7deceptive cadence EmVII → i7Aeolian arrival ×1
- Cmaj7 D GIVmaj7 → VIV → V EmVImaj7 → VIIVI → VII ×1
The move to watch is Cmaj7 → Em7, heard 6 times. From the Em side it is VImaj7 → i7 (VI → i: falls a half step into home); from the G side it reads IVmaj7 → vi7. 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 Em7, 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 Cmaj7, land on C, E, G — 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
The opening Em7 lays a solid floor for everything that follows. Em7, D, Cmaj7, Am7 carry the song: vi7–V–IVmaj7–ii7 relative to G, i7–VII–VImaj7–iv7 relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cmaj7 → Em7 (IVmaj7 → vi7 in G, VImaj7 → i7 in Em): VI → i — falls a half step into 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.
Dolu Kadehi Ters Tut - Bizi Bırakma 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: Dolu Kadehi Ters TutMusic: Dolu Kadehi Ters Tut
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