Sezen Aksu - Aşk Dansı - Chord

Key G major – E minor Chords Em, Am, B7 Easy key C (capo 7)

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Capo 0

      Am             Em
Umurumda mı dünya batsa da
         Am             Em
Yarın sevgilim basıp gitse de
          B7             Em
Bu aşk dansı da yarım kalsa

Em
Eser bir yel saçlarına vurur

Tarifi imkânsızım savrulur

Bir o yana bir bu yana

Gün ağarırken baygın uyur

Em
Açılmış dar geliyor düğmeler

Süzülür boynundan ince bir ter

Öpüşmekten perişan o dudaklarda

Mor menekşeler

      Am             Em
Umurumda mı dünya batsa da
         Am             Em
Yarın sevgilim basıp gitse de
          B7             Em
Bu aşk dansı da yarım kalsa
x2

Em
Sarışmışız biraz çakır keyif

Güneş yetmemiş bir de ay çarpmış

Biri durdursun şu dönen deli evlerin

Feleği şaşmış

Em
El ayak çekilmiş kumsaldayız

Yeminle çok edepsiz bu mehtap

Isır diyor şu güvercin ayakları

Ne mehtapmış

      Am             Em
Umurumda mı dünya batsa da
         Am             Em
Yarın sevgilim basıp gitse de
          B7             Em
Bu aşk dansı da yarım kalsa
x2

            Am               Em
Aşk sen ilk günden beri günahsın
       Am     B7           Em
Ama bunca cezaya rağmen varsın
       Am                 Em
Tutuşmuşuz üstelik yaz gelmiş
          Am       B7         Em
Bugün gazeteler ne yazarsa yazsın

      Am             Em
Umurumda mı dünya batsa da
         Am             Em
Yarın sevgilim basıp gitse de
          B7             Em
Bu aşk dansı da yarım kalsa
x2

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Sezen Aksu - Aşk Dansı Tabs

NotesX

Harmony analysis

Sezen Aksu – Aşk Dansı: key and chord analysis

The song opens on Am and ends on Em. 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)
#7 = D# (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the E minor side because it comes to rest on Em, Em is heard 20 times while G never appears and the major V chord points straight at Em. 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
I	G	Tonic — home	G · B · D	—
ii	Am	Supertonic — prepares the dominant	A · C · E	12×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V7/vi	B7	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F# · A	6×
IV	C	Subdominant — moves away from home	C · E · G	—
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	20×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	20×
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	12×
v	Bm	Minor dominant — soft pull	B · D · F#	—
V7	B7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F# · A	6×
VI	C	Submediant — warm colour	C · E · G	—
VII	D	Subtonic — steps back to the tonic	D · F# · A	—

Analysis

The key pair is G major and its relative E minor (1 sharp). 3 different chords appear 38 times in total; 2 of them sit naturally inside the shared scale. The major V of Em brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from G, the same B7 is V7/vi, a secondary dominant heading for Em.

Chord movement

Am Em Gii → vi Emiv → iminor plagal ×10
B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×6
Am B7 Gii → V7/vi Emiv → V7iv → V ×2

The move to watch is Am → Em, heard 10 times. From the Em side it is iv → i (minor plagal: deep and melancholic); from the G side it reads ii → vi. 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over B7, land on B, D#, F# — the chord's own tones always sound right on strong beats.
When B7 comes, swap the scale's D for D#: that single note is the harmonic-minor sound of the chord.

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 Am, the song gives away its key from the very first bar. The backbone is Em, Am, B7 — vi–ii–V7/vi from the G side, i–iv–V7 from the Em side. B7 is the interesting twist: in G it is a chromatic chord (V7/vi), while in Em it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Am → Em (ii → vi in G, iv → i in Em): minor plagal — deep and melancholic. The final chord is Em; the ear comes to rest in Em.

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.