Elif Buse Doğan - Dualarım Seninle - Chord

Key G major – E minor Chords Am7, Bm7, Em7, Cmaj7, Gmaj7, D, C Easy key C (capo 7)

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Capo 0

Em7  C  Em7  Am7  Bm7  Gmaj7  Em7  Am7  D  Am7   Gmaj7

Em7  Am7  Bm7  Gmaj7  Em7  Am7  Am7  Bm7  Bm7

Bm7    Em7       Am7
İyi günde kötü günde
    Bm7  Cmaj7                       Em7
Beraber--dik hep elele bu hayat sahnesinde
                        Am7
Bıraktığın gibi eşyalar bu evde
      Cmaj7      Bm7            Em7
Hatıralar eski duruyor yerli yerinde

      Am7                Bm7
Hala aşığım deliler gibi sana
         Cmaj7
Bahçemde çiçekler açar yangınımda
Bm7     Am7
Ben yanarım ikimizin yerine
D
Yolun açık olsun diye
Cmaj7  Am7   Bm7
Duala--rım seninle
x2

Bm7        Em7          Am7
Bıraktığın gibi eşyalar bu evde
      Cmaj7      Bm7            Em7
Hatıralar eski duruyor yerli yerinde

      Am7                Bm7
Hala aşığım deliler gibi sana
         Cmaj7
Bahçemde çiçekler açar yangınımda
Bm7     Am7
Ben yanarım ikimizin yerine
D
Yolun açık olsun diye
Cmaj7  Am7   Bm7
Duala--rım seninle
x2

End of song Play again?

Elif Buse Doğan - Dualarım Seninle Tabs

NotesX

Harmony analysis

Elif Buse Doğan – Dualarım Seninle: 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.

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)

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 10 times against 3 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.

Seen from G major
Degree	Chord	Role	Notes	In song
Imaj7	Gmaj7	Tonic — home	G · B · D · F#	3×
ii7	Am7	Supertonic — prepares the dominant	A · C · E · G	15×
iii7	Bm7	Mediant — a tonic-family shade	B · D · F# · A	15×
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×
IV	C	Subdominant — moves away from home	C · E · G	1×
V	D	Dominant — strongest pull home	D · F# · A	3×
vi7	Em7	Relative minor — the melancholy side	E · G · B · D	10×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i7	Em7	Tonic — home	E · G · B · D	10×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
IIImaj7	Gmaj7	Relative major — the bright side	G · B · D · F#	3×
iv7	Am7	Subdominant — moves away from home	A · C · E · G	15×
v7	Bm7	Minor dominant — soft pull	B · D · F# · A	15×
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×
VI	C	Submediant — warm colour	C · E · G	1×
VII	D	Subtonic — steps back to the tonic	D · F# · A	3×

Analysis

The key pair is G major and its relative E minor (1 sharp). 7 different chords appear 54 times in total; 7 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

Bm7 Em7 Giii7 → vi7 Emv7 → i7natural-minor cadence ×4
Am7 D Gii7 → Vii → V Emiv7 → VII ×3
C Em7 GIV → vi7 EmVI → i7VI → i ×1
Cmaj7 Em7 GIVmaj7 → vi7 EmVImaj7 → i7VI → i ×1

The move to watch is Bm7 → Em7, heard 4 times. From the Em side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the G side it reads iii7 → 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 Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
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.

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. Am7, Bm7, Em7, Cmaj7 carry the song: ii7–iii7–vi7–IVmaj7 relative to G, iv7–v7–i7–VImaj7 relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm7 → Em7 (iii7 → vi7 in G, v7 → i7 in Em): natural-minor cadence — gentle, modal arrival. 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.