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)
Fırat Tanış - Yani - Chord
Key G major – E minor Chords Am7, Bm7, Em7, C#m7b5, Em, Cmaj7 Easy key C (capo 7)
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Key: G | Em
Capo: 0
Am7 Bm7 Em7 C#m7b5 Am7 Bm7 Em Em
Am7 Bm7 Em7 C#m7b5 Am7 Bm7 Cmaj7
Am7 Bm7 Em7 C#m7b5
Geçtiğimiz yolları arıyor gözüm yine
Am7 Bm7 Em
Sanırım şehir uzakta kalıyor
Am7 Bm7 Em7 C#m7b5
Ellerimi uzatsam tutmak isterim günü
Am7 Bm7 Em
Ama güneş her gece tepemde doğuyor
Am7 Bm7 Em7 C#m7b5
Yani olmuyor olmuyor istesem de
Am7 Bm7 Em
Kimse gelmiyor beklesem de
Am7 Bm7 Em7 C#m7b5
Yani olmuyor olmuyor istesem de
Am7 Bm7
Kimse gelmiyor
Am7 Bm7 Em7 C#m7b5
Yaz kokusu duyardım kışın ortasında bile
Am7 Bm7 Em
Uzun cümleler kurardım konuşurken
Am7 Bm7 Em7 C#m7b5
Eski filmlerde kaldı böyle sözler deniyor
Am7 Bm7 Em
Ama şimdi filmler bile eskimiyor
End of song Play again?
Fırat Tanış - Yani Tabs
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Harmony analysis
Fırat Tanış – Yani: key and chord analysis
The song opens on Am7 and ends on Em. 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: to us the song feels closer to the E minor side because it comes to rest on Em and Em is heard 15 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | — |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 16× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 16× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IVmaj7 | Cmaj7 | Subdominant — moves away from home | C · E · G · B | 1× |
| #ivø7 | C#m7b5 | Chromatic colour chordoutside the key | C# · E · G · B | 8× |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| vi7 | Em7 | Relative minor — the melancholy side | E · G · B · D | 8× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 7× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Em7 | Tonic — home | E · G · B · D | 8× |
| i | Em | Tonic — home | E · G · B | 7× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 16× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 16× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VImaj7 | Cmaj7 | Submediant — warm colour | C · E · G · B | 1× |
| #viø7 | C#m7b5 | Chromatic colour chordoutside the key | C# · E · G · B | 8× |
| 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). 6 different chords appear 56 times in total; 5 of them sit naturally inside the shared scale. C#m7b5 step outside the scale as colour chords.
Chord movement
- Bm7 Em7 Giii7 → vi7 Emv7 → i7natural-minor cadence ×8
- Bm7 Em Giii7 → vi Emv7 → inatural-minor cadence ×6
The move to watch is Bm7 → Em7, heard 8 times. From the Em side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the G side it reads iii7 → vi7. 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 Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over Em7, 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 Am7, the song gives away its key from the very first bar. The chords that keep coming back are Am7, Bm7, Em7, C#m7b5; read them as ii7–iii7–vi7–#ivø7 in G or iv7–v7–i7–#viø7 in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm7 → Em7 (iii7 → vi7 in G, v7 → i7 in Em): natural-minor cadence — gentle, modal arrival. 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.
Fırat Tanış - Yani 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: Fırat TanışMusic: Fırat Tanış
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