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)
Doğu Swag - Bilsen de - Semicenk - Chord
Key G major – E minor Chords Bm, D, C, G Easy key C (capo 7)
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Key: G | Em
Capo: 0
Bm G Bm D C
Bm
Kaçıyorum olduğum şeyden hep korkak gibi
G
Sen de tek tek umudunu kes
Bm
Ömrümden harcadım çok kez
D C
Hisettim hep etmiş gibi pes
Bm
Kaybedilmiş bir ton kavgam
G
Güldüğüm suratlar şeytan
Bm D C
Terk edilmiş darılmışlar yine affedilmiş satılmışlar
Bm G
Ama kalbim biliyor, o buzlar erimez
Bm D C
Gerekirse siliyor ama af maf dilemez
Bm
Varsa iki yol ikisi de gidilir
G
Yapılabilecek her şey denenir
Bm
Her insan elbette yenilir
D C
Kendiyle savaşanı kim devirir
Bm D Bm D C
Bilsen de bilmesen de, neler harcadı uğruna yürek
Bm D Bm D C
Bitmez sevda dilimde, gelsen de gelmesen de
x2
Bm G Bm D C
Bm
Karanlıktı, yolu bulamadı
G Bm
Kararsızdı bir çok kez kalbim
D C
Buna çok dayandı, sensizliğe çok alıştı
Bm
Umrumda değil ne çok ağladı
G
Burda aşkın yeri kalmadı
Bm
Çok sevdim değeri olmadı
D C
Yalan ekti sözler tutulmadı
Bm
Yaralana kadar herkes haklı
D
Yürüdüğü yollar mayın tarlası
Bm
Gördüklerim inançlarımın aynısı
D C
Sert esti rüzgar yıkılmadım
Bm D
Karalanabilir adım bırak aydınlıklarla kalsın
Bm
Hak yolunda bahtım, geride kalmaz aklın
D C
Berrak sulara demir attın
Bm D Bm D C
Bilsen de bilmesen de, neler harcadı uğruna yürek
Bm D Bm D C
Bitmez sevda dilimde, gelsen de gelmesen de
x2
End of song Play again?
Doğu Swag - Bilsen de - Semicenk Tabs
NotesX
Harmony analysis
Doğu Swag – Bilsen de - Semicenk: key and chord analysis
The song opens on Bm and ends on C. 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 G major side because G is heard 8 times while Em never appears. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.
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 | 8× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | — |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 28× |
| III | B | Chromatic colour chordoutside the key | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 14× |
| V | D | Dominant — strongest pull home | D · F# · A | 20× |
| vi | Em | Relative minor — the melancholy side | E · G · B | — |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | — |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 8× |
| iv | Am | Subdominant — moves away from home | A · C · E | — |
| v | Bm | Minor dominant — soft pull | B · D · F# | 28× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 14× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 20× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 4 different chords appear 70 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
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 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.
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 Bm, the song gives away its key from the very first bar. The backbone is Bm, D, C, G — iii–V–IV–I from the G side, v–VII–VI–III from the Em side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. It closes on C, 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.
Doğu Swag - Bilsen de - Semicenk 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: Doğu Swag, SemicenkMusic: Doğu Swag, SemicenkArrangement: Büken
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