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)
Berkay Tulumbacı - Git - Chord
Key G major – E minor Chords Bm7, Em7, Am7, Cmaj7, D7 Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em7 Am7 Bm7
Yalan aşkına bu gidiş yakışır
Cmaj7 D7 Em7
Sonu yoktur bu son elveda
Am7 Bm7
Yollar kararır uzanır geceye
Cmaj7 D7 Am7
Acıtır seni hasretim
Em7
Dur bir düşün, yeter ki bir gülüşün
D7 Cmaj7 Bm7 Em7
Sarılır geceye doğacak güneşin özlemi
Em7 Bm7
Git, ardına bakmadan öyle git
Am7 Bm7
Vakit ayrılık vaktidir
x2
Em7 Bm7 Am7 Bm7
Cmaj7 Bm7 Am7 Bm7
Em7 Am7 Bm7
Yalan aşkına bu gidiş yakışır
Cmaj7 D7 Em7
Sonu yoktur bu son elveda
Am7 Bm7
Yollar kararır uzanır geceye
Cmaj7 D7 Am7
Acıtır seni hasretim
Em7
Dur bir düşün, yeter ki bir gülüşün
D7 Cmaj7 Bm7 Em7
Sarılır geceye doğacak güneşin özlemi
Em7 Bm7
Git, ardına bakmadan öyle git
Am7 Bm7
Vakit ayrılık vaktidir
x2
End of song Play again?
Berkay Tulumbacı - Git Tabs
NotesX
Harmony analysis
Berkay Tulumbacı – Git: key and chord analysis
The song opens on Em7 and ends on Bm7. 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 11 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 | 10× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 14× |
| 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 | 7× |
| V7 | D7 | Dominant — strongest pull home | D · F# · A · C | 6× |
| vi7 | Em7 | Relative minor — the melancholy side | E · G · B · D | 11× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Em7 | Tonic — home | E · G · B · D | 11× |
| 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 | 10× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 14× |
| 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 | 7× |
| VII7 | D7 | Subtonic — steps back to the tonic | D · F# · A · C | 6× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 48 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 D7 GIVmaj7 → V7IV → V EmVImaj7 → VII7VI → VII ×4
- Bm7 Em7 Giii7 → vi7 Emv7 → i7natural-minor cadence ×4
- D7 Em7 GV7 → vi7deceptive cadence EmVII7 → i7Aeolian arrival ×2
- Am7 Em7 Gii7 → vi7 Emiv7 → i7minor plagal ×2
The move to watch is Cmaj7 → D7, heard 4 times. From the Em side it is VImaj7 → VII7 (VI → VII: the rising step that heads for the tonic); from the G side it reads IVmaj7 → V7 (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 Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over Am7, 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
The first chord is Em7; the ear learns where home is within a second. The chords that keep coming back are Bm7, Em7, Am7, Cmaj7; read them as iii7–vi7–ii7–IVmaj7 in G or v7–i7–iv7–VImaj7 in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cmaj7 → D7 (IVmaj7 → V7 in G, VImaj7 → VII7 in Em): VI → VII — the rising step that heads for the tonic. It closes on Bm7, 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.
Berkay Tulumbacı - Git 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: Berkay TulumbacıMusic: Berkay TulumbacıArrangement: Ümit Tulumbacı
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