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)
Ayna - Gittiğin Yağmurla Gel - Chord
Key G major – E minor Chords Am, Dm, E, B Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Dm Am B E Am E Geldiğin vapurla hasretim döner Dm Am Geldiğin yağmurla yangınım söner Dm Am Ağrıma gidiyor sensiz geçen günler B E Yüreğime kazınmış o güzel gözler Dm Gittiğin yağmurla gel Am Küskünüm yağmurlara B Gittiğin yağmurla gel E Böylesi daha güzel
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Ayna - Gittiğin Yağmurla Gel Tabs
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Harmony analysis
Ayna – Gittiğin Yağmurla Gel: key and chord analysis
The song opens on Dm and ends on E. 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)
- #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 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 5× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | 3× |
| IV | C | Subdominant — moves away from home | C · E · G | — |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| v | Dm | Chromatic colour chordoutside the key | D · F · A | 4× |
| vi | Em | Relative minor — the melancholy side | E · G · B | — |
| V/ii | E | Secondary dominant V/ii — leads to Amsecondary dominant | E · G# · B | 4× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | — |
| V/iv | E | Secondary dominant V/iv — leads to Amsecondary dominant | E · G# · B | 4× |
| 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 | 5× |
| 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# | 3× |
| VI | C | Submediant — warm colour | C · E · G | — |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | — |
| vii | Dm | Chromatic colour chordoutside the key | D · F · A | 4× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 4 different chords appear 16 times in total; 1 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. E acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Am B Gii → V/vi Emiv → Viv → V ×3
The move to watch is Am → B, heard 3 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over E, 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.
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
The opening Dm lays a solid floor for everything that follows. The chords that keep coming back are Am, Dm, E, B; read them as ii–v–V/ii–V/vi in G or iv–vii–V/iv–V in Em. E is the interesting twist: in G it is a chromatic chord (V/ii), while in Em it becomes the dominant (V/iv) 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 E, 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.
Ayna - Gittiğin Yağmurla Gel 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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