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)
Başar Keklik - Nihayet Hanım - Chord
Key G major – E minor Chords Em, D, C, Bm, Am, G Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Bm C C D G Bm
Em Em D C Em
x2
Em Am
Birbirini tanıyan iki yabancıyız ah
D
Affet beni, ben sana dargınım
Sen günü gün et
C
Hep sana yangınım
Gel hadi kül et
Am
Ah nihayet hanım sen
D Em
Sen çiçeksin baharım
Em Am
Birbirini unutan iki yalancıyız ah
D
Affet beni, ben unutamadım
İçime atıp hep
C
Ah başaramadım
Gel kusur et
Am
Sen nihayet hanım
D Em
Sen kabusun sabahı
Em Bm
Em
Ellerimde çiçek
Yolların karmaşık
D
Giydim takımları
C Bm
Bak kaç çiçek öldürdüm
Em
Yağmurlar dinecek
Sen nihayet hanım
D
Geldin başı döndürdün
C Bm
Bak kaç çiçek öldürdün
x2
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Başar Keklik - Nihayet Hanım Tabs
NotesX
Harmony analysis
Başar Keklik – Nihayet Hanım: key and chord analysis
The song opens on Bm 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 Em is heard 10 times against 1 for G. 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 | 1× |
| 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# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 7× |
| V | D | Dominant — strongest pull home | D · F# · A | 8× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 10× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 10× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 1× |
| 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# | — |
| VI | C | Submediant — warm colour | C · E · G | 7× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 8× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 35 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
- Am D Gii → Vii → V Emiv → VII ×4
- Bm Em Giii → vi Emv → inatural-minor cadence ×3
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×2
- D G GV → Iauthentic cadence EmVII → III ×1
- C D GIV → VIV → V EmVI → VIIVI → VII ×1
- C Em GIV → vi EmVI → iVI → i ×1
The move to watch is Am → D, heard 4 times. From the Em side it is iv → VII; from the G side it reads ii → V (ii → V: the classic preparation of the dominant). 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 Em, 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 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
The song is already written in its easiest key for guitar.
The song's harmonic story
Starting on Bm, the song gives away its key from the very first bar. The backbone is Em, D, C, Bm — vi–V–IV–iii from the G side, i–VII–VI–v from the Em side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am → D (ii → V in G, iv → VII in Em): ii → V — the classic preparation of the dominant. The final chord is Bm; 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.
Başar Keklik - Nihayet Hanım 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: Başar KeklikMusic: Başar Keklik
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