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)
Sıla Şahin - Günler - Chord
Key G major – E minor Chords Bm, Cmaj7, D, Em, Am, C Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em Cmaj7 Bm Am Bm
Em
Günler, günler aylara
Bm
Aylar, aylar yıllara vurdu
Cmaj7
Biz çok geceler gömdük
D
Takvim yaprağına
Cmaj7 Bm Cmaj7
Sana gelen bana gelsin hiç kıyamam
Bm Cmaj7
Bi derdin olsa yerimde bak duramam
D
Ama sen neler yaptın o sayfayı kapattım
Am Bm
Umarım mutlu olursun inşallah
Bm
Dağıldım yenilmedim, sabrım selamet değil
C
İçim paramparça kırıldı, gel toparla beni
D
Bi baktım mühürlendim, gözlerin vurmuş beni
C Am
Masalsı bir rüyaydın, bir varmış bir yokmuş gibi
Em
Günler, günler aylara
Bm
Aylar, aylar yıllara vurdu
Cmaj7
Biz çok geceler gömdük
D
Takvim yaprağına
x2
Bm C D Bm
End of song Play again?
Sıla Şahin - Günler Tabs
NotesX
Harmony analysis
Sıla Şahin – Günler: 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.
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 3 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 | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 3× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 10× |
| 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 | 6× |
| IV | C | Subdominant — moves away from home | C · E · G | 3× |
| V | D | Dominant — strongest pull home | D · F# · A | 5× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 3× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 3× |
| 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 | 3× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 10× |
| 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 | 6× |
| VI | C | Submediant — warm colour | C · E · G | 3× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 5× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 30 times in total; 6 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 D GIVmaj7 → VIV → V EmVImaj7 → VIIVI → VII ×3
- C D GIV → VIV → V EmVI → VIIVI → VII ×2
- Am Em Gii → vi Emiv → iminor plagal ×1
- Bm Em Giii → vi Emv → inatural-minor cadence ×1
The move to watch is Cmaj7 → D, heard 3 times. From the Em side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic); from the G side it reads IVmaj7 → V (IV → V: the lift that builds tension before 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 Bm, land on B, D, F# — 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.
- Over D, land on D, F#, A — 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 Em lays a solid floor for everything that follows. The chords that keep coming back are Bm, Cmaj7, D, Em; read them as iii–IVmaj7–V–vi in G or v–VImaj7–VII–i in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cmaj7 → D (IVmaj7 → V in G, VImaj7 → VII in Em): VI → VII — the rising step that heads for the tonic. Ending on Bm, the song seals G as home.
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.
Sıla Şahin - Günler 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: Sıla Şahin, Samet KardeşlerMusic: Sıla Şahin, Samet Kardeşler
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