Şebnem Ferah - Yağmurlar - Chord

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

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Capo 0

Em                           C  D
Sokaklar sakin geceler karabasan
Em                                  C  D
Ellerim titrer kim bu ben kim bu susan
Em                                       C  D
Ne soran var ne bilen sebebim yok bana kıyan,
Em                               C   D
Erkeğim sen gül vazgeçtim rüyalardan  

Am             F
Beni sevmezsen yağmurları sev
Am               G              Am          Em
Bulutlar ağlasın sen gül güneş doğsun yeniden  

Em        C     D
Gidiyorum gözüm yaşlı
Em       C        D
Hatıran har yüreğime
Em      C      D
Sen sev yağmurları
Em           C        D
Yağmurlar yağsın üzerime  

Em        C     D
Gidiyorum gözüm yaşlı
Em          C       D
Ah yine yol yol üstüne
Em      C      D
Sen sev yağmurları
Em           C   D   Em
Yağmurlar yağsın yüzüme

End of song Play again?

Şebnem Ferah - Yağmurlar Tabs

NotesX

Harmony analysis

Şebnem Ferah – Yağmurlar: 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 14 times against 1 for G. 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	1×
ii	Am	Supertonic — prepares the dominant	A · C · E	3×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	12×
V	D	Dominant — strongest pull home	D · F# · A	12×
vi	Em	Relative minor — the melancholy side	E · G · B	14×
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	14×
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	1×
iv	Am	Subdominant — moves away from home	A · C · E	3×
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#	—
VI	C	Submediant — warm colour	C · E · G	12×
VII	D	Subtonic — steps back to the tonic	D · F# · A	12×

Analysis

The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 43 times in total; 5 of them sit naturally inside the shared scale. F is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

C D GIV → VIV → V EmVI → VIIVI → VII ×12
D Em GV → videceptive cadence EmVII → iAeolian arrival ×11
Am Em Gii → vi Emiv → iminor plagal ×1

The move to watch is C → D, heard 12 times. From the Em side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the G side it reads IV → V (IV → V: the lift that builds tension before home). 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 C, land on C, E, G — 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.
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

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

The song's harmonic story

The opening Em lays a solid floor for everything that follows. Em, C, D, Am carry the song: vi–IV–V–ii relative to G, i–VI–VII–iv relative to Em. F briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on C → D (IV → V in G, VI → VII in Em): VI → VII — the rising step that heads for the tonic. 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.