Vera - Elveda (Aylin Aslım) - Chord

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

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Capo 0

Am   B   C   G   Am   Em   B

Em  B         Em  B          G
Sen kaşları keman bir güzel hanım
Am          B         Am
Neye muhtaçtın bende olmayan
B    Em     B        G
Git diyemem seni bırakamam
Am          B             C     B
Gel saklanalım küçük evimizde

En  B         Em  B          G
Sen nağme dudaklı çocuk bakışlı
Am         B            Em
Asla suçun yok lütfen ağlama
     B        Em   B         G
Sokaklar tekinsiz hüzünlü ve sessiz
Am      B                    C    B
Ne olur biraz daha kal yanımda

      Am      B    C        G
Senle bir gün bile değer ölmeye 
Am  Em   B
İnan     ama elveda
   Am   B      C       G
Elveda yuvam hüznüm huzurum 
Am  Em   B
Beni    unutma

C       B         Em
Müptela oldum ayrılığa
       C    D      Am
Umudum yok benim yarına
            B        Am
Tozlu bu sahne atıldım bu 
     F            C     D
Oyundan son defa sarıl bana

End of song Play again?

Vera - Elveda (Aylin Aslım) Tabs

NotesX

Harmony analysis

Vera – Elveda (Aylin Aslım): key and chord analysis

The song opens on Am and ends on D. 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 Em is heard 9 times against 6 for G 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	6×
ii	Am	Supertonic — prepares the dominant	A · C · E	13×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	20×
IV	C	Subdominant — moves away from home	C · E · G	8×
V	D	Dominant — strongest pull home	D · F# · A	2×
vi	Em	Relative minor — the melancholy side	E · G · B	9×
bVII	F	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	F · A · C	1×
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	9×
bII	F	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	F · A · C	1×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	6×
iv	Am	Subdominant — moves away from home	A · C · E	13×
v	Bm	Minor dominant — soft pull	B · D · F#	—
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	20×
VI	C	Submediant — warm colour	C · E · G	8×
VII	D	Subtonic — steps back to the tonic	D · F# · A	2×

Analysis

The key pair is G major and its relative E minor (1 sharp). 7 different chords appear 59 times in total; 5 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 B is V/vi, a secondary dominant heading for Em. F is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Am B Gii → V/vi Emiv → Viv → V ×9
B Em GV/vi → vi EmV → iharmonic-minor cadence ×6
C G GIV → Iplagal cadence EmVI → III ×3
Am Em Gii → vi Emiv → iminor plagal ×3
C D GIV → VIV → V EmVI → VIIVI → VII ×2

The move to watch is Am → B, heard 9 times. From the Em side it is iv → V (iv → V: the minor side's tension builder); from the G side it reads ii → V/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 B, land on B, D#, F# — 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 Em, land on E, G, B — the chord's own tones always sound right on strong beats.
When B comes, swap the scale's D for D#: that single note is the harmonic-minor sound of the chord.
On F, follow the chord's notes (F · A · C) rather than the key's scale — it's a borrowed colour.

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 Am; the ear learns where home is within a second. The chords that keep coming back are B, Am, Em, C; read them as V/vi–ii–vi–IV in G or V–iv–i–VI in Em. B is the interesting twist: in G it is a chromatic chord (V/vi), while in Em it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Am → B (ii → V/vi in G, iv → V in Em): iv → V — the minor side's tension builder. Ending on D, the song seals G as home.

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.