Vega - İz Bırakanlar Unutulmaz - Chord

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

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Capo 0

Em                    Am           D
Bi kız vardı, güzeldi sanki ve senindi
Em                    Am          D
Gözlerinde saklı bir belki ve senindi

Bm               Am         C       Em
Anladı bir gün bitermiş her şey ve bitti

Em                       Am           D         
O çocuk var ya, o sendin sanki ve deliydi
Em                Am           D    
Uyusaydı büyürdü belki ve deliydi

Bm                 Am        C       Em
Derdi ki yarın bitermiş her şey ve bitti

Em               Am
Ver, ver ateşe, ver bizi, evimizi
Bm                    Am         Bm      Em
Bir iz bırak burada, iz bırakanlar unutulmaz

Em                    Am            D
Bir ev vardı küçüktü belki ve bizimdi 
Em               Am           D
Odalarda ışık yüzerdi ve bizimdi

Bm              Am       C      Em
Bir gün hiç doğamadı güneş ve bitti

End of song Play again?

Vega - İz Bırakanlar Unutulmaz Tabs

intro E5 A5 D5 E-----------------|---------|---------| B-----------------|---------|---------| G-9-9-7-9-9-9-7-9-|-5-5-7-5-|-5-5-9-7-| D-----------------|---------|---------| A-----------------|---------|---------| E-----------------|---------|---------| Em Am D

NotesX

Harmony analysis

Vega – İz Bırakanlar Unutulmaz: key and chord analysis

The song opens on Em 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the E minor side because it both starts and finishes on Em and Em is heard 11 times while G never appears. 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	11×
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	3×
V	D	Dominant — strongest pull home	D · F# · A	6×
vi	Em	Relative minor — the melancholy side	E · G · B	11×
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	11×
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	11×
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	3×
VII	D	Subtonic — steps back to the tonic	D · F# · A	6×

Analysis

The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 36 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

Am D Gii → Vii → V Emiv → VII ×6
D Em GV → videceptive cadence EmVII → iAeolian arrival ×3
C Em GIV → vi EmVI → iVI → i ×3
Bm Em Giii → vi Emv → inatural-minor cadence ×1

The move to watch is Am → D, heard 6 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 Am, land on A, C, E — 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.

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 Em; the ear learns where home is within a second. The chords that keep coming back are Em, Am, D, Bm; read them as vi–ii–V–iii in G or i–iv–VII–v in Em. 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. It closes on Em, letting the Em 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.