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)
Düş Sokağı Sakinleri - Al Beni Yar - Chord
Key G major – E minor Chords G, D, Em, Bm, C Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em Em Em Em G D Em G D C G D Bm Bm D Em G D Em Bulutlardı yağmuru getiren G D C Büyüdüm bulut oldum G D Bm Yağmur oldu yasak sevdamız Bm D Em İnatla gurbete doğdu G D Em Acıya büyüdü sevgiler G D Em Karanlıklar kentinde G D Bm Güneşi hiç göremeden Bm D Em Oynadığımız bir oyundu G Bm Em G Al beni yar götür, götür buralardan Bm C G D Bıktım artık hep aynı varoluşlardan G D Em Yitirmekten yitirilmekten G D C Korkudan korkmalardan G D Bm Aldatmadan aldatılışlardan Bm D Em Hiç almadan hep vermelerden G Bm Em G Al beni yar götür, götür buralardan Bm C G D Bıktım artık hep aynı varoluşlardan G D Em Yasaktı bize sevda yaşamak G D C Aramızda hep birileri oldu G D Bm Aramızda hep sen de oldun Bm D Em Ben yalnız seninle doğdum G Bm Em G Al beni yar götür, götür buralardan Bm C G D Bıktım artık hep aynı varoluşlardan
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Düş Sokağı Sakinleri - Al Beni Yar Tabs
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Harmony analysis
Düş Sokağı Sakinleri – Al Beni Yar: key and chord analysis
The song opens on Em and ends on D. 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: we can't honestly pick a side here — the song moves freely between G major and E minor because it opens on Em and G is heard 24 times against 18 for Em. Try reading the chords both ways and see which feels more like home to you.
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 | 24× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | — |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 16× |
| 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 | 23× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 18× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 18× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 24× |
| iv | Am | Subdominant — moves away from home | A · C · E | — |
| v | Bm | Minor dominant — soft pull | B · D · F# | 16× |
| 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 | 23× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 88 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
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×11
- C G GIV → Iplagal cadence EmVI → III ×7
- Bm Em Giii → vi Emv → inatural-minor cadence ×3
- D G GV → Iauthentic cadence EmVII → III ×2
The move to watch is D → Em, heard 11 times. From the G side it reads V → vi (deceptive cadence: expected G, lands on Em); from the Em side it is VII → i (Aeolian arrival: rises a whole tone into 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 G, land on G, B, D — 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 Em, 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
Starting on Em, the song gives away its key from the very first bar. The chords that keep coming back are G, D, Em, Bm; read them as I–V–vi–iii in G or III–VII–i–v in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D → Em (V → vi in G, VII → i in Em): deceptive cadence — expected G, lands on Em. It closes on D, 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.
Düş Sokağı Sakinleri - Al Beni Yar 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: Murat YılmazyıldırımMusic: Murat Yılmazyıldırım
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