Yeni Türkü - Yağmurun Elleri - Chord

Key G major – E minor Chords C, Em, D, Am, Fm, G, B7, B Difficulty already in its easiest key

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Capo 0

     Em             Am            D    
Küçücük bir bakışın çözer beni kolayca
         C         G         Am               D 
Kenetlenmiş parmaklar gibi, sımsıkı kapanmış olsam 
  
       Em                  Am               D      
Yaprak yaprak açtırırsın, ilk yaz nasıl açtırırsa
     C        G        Am             D 
İlk gülünü gizem dolu hünerli bir dokunuşla 

          G      Em          Am              D          
Hiç kimsenin yağmurun bile, böyle küçük elleri yoktur
      Em        D           B7         C 
Bütün güllerden derin bir sesi var gözlerinin 

Fm   C   Fm   C

        Fm         C
Baş edilmez o gergin
        Fm         C         Fm         Em
Baş edilmez o gergin, kırılganlığınla senin
      C         Em         B
Her solukta sonsuzluk ve ölüm

End of song Play again?

Yeni Türkü - Yağmurun Elleri Tabs

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Harmony analysis

Yeni Türkü – Yağmurun Elleri: key and chord analysis

The song opens on Em and ends on B. 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 opens on Em, Em is heard 6 times against 3 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	3×
ii	Am	Supertonic — prepares the dominant	A · C · E	5×
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	1×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	1×
IV	C	Subdominant — moves away from home	C · E · G	8×
V	D	Dominant — strongest pull home	D · F# · A	6×
vi	Em	Relative minor — the melancholy side	E · G · B	6×
bvii	Fm	Chromatic colour chordoutside the key	F · Ab · C	5×
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	6×
bii	Fm	Chromatic colour chordoutside the key	F · Ab · C	5×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	3×
iv	Am	Subdominant — moves away from home	A · C · E	5×
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	1×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	1×
VI	C	Submediant — warm colour	C · E · G	8×
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). 8 different chords appear 35 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 B7 / B is V7/vi, a secondary dominant heading for Em. Fm step outside the scale as colour chords.

Chord movement

Am D Gii → Vii → V Emiv → VII ×5
C G GIV → Iplagal cadence EmVI → III ×2
D Em GV → videceptive cadence EmVII → iAeolian arrival ×2
D G GV → Iauthentic cadence EmVII → III ×1
C Em GIV → vi EmVI → iVI → i ×1

The move to watch is Am → D, heard 5 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 C, land on C, E, G — 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.
Over D, land on D, F#, A — 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

The song is already written in its easiest key for guitar.

The song's harmonic story

Starting on Em, the song gives away its key from the very first bar. C, Em, D, Am carry the song: IV–vi–V–ii relative to G, VI–i–VII–iv relative to Em. 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 → D (ii → V in G, iv → VII in Em): ii → V — the classic preparation of the dominant. Ending on B, 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.