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)
Ceylan Ertem - El Adamı - Chord
Key G major – E minor Chords D, C, Em, Bm, Cm Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Em
Bm C D
Saçlarımın boynuna geçti ipek sicim
Bm C D
Gömleğinin bir kolunu dar ağacı belledim
Bm C D
Bir ucu sen paslı makasın bir ucu bendim
Bm D C
Sığ yüzüne kapattığım saçlarımı kestim
Bm C Bm C
Aynada yüzüm hazırladı, tel tel ayrı ayrı topladı
D Em D
Yalnızlığın kadınıyım alma beni el adamı
Em C
Gönlüm isterse gelirim, bitmeyen aşkla sevişirim
Em D Em D Em
Seyret bak uçurum dağından, dümdüzdür vadim
Em Cm
Ruhum isterse gezinirim, dipsiz uçurumlarda
Em D Em D Em
Aşk düzlükte yaşanıyor, düzlük tek aşkta
Bm C D
Aynı değil her baharın çiçeği dalı
Bm D C
Ellerini hangi su yıkar ortalık malı
Bm C
Böldü sabır çekti kopardı seni bittin
Bm D C
Sığ yüzüne kapattığın saçlarımı kestim
End of song Play again?
Ceylan Ertem - El Adamı Tabs
NotesX
Harmony analysis
Ceylan Ertem – El Adamı: key and chord analysis
The song opens on Em and ends on C. 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 opens on Em and Em is heard 10 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 | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | — |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 10× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 11× |
| iv | Cm | Minor iv — borrowed from the parallel minorborrowed chord | C · Eb · G | 1× |
| V | D | Dominant — strongest pull home | D · F# · A | 13× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 10× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 10× |
| 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 | — |
| v | Bm | Minor dominant — soft pull | B · D · F# | 10× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 11× |
| vi | Cm | Chromatic colour chordoutside the key | C · Eb · G | 1× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 13× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 45 times in total; 4 of them sit naturally inside the shared scale. Cm is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×6
- C D GIV → VIV → V EmVI → VIIVI → VII ×5
- C Em GIV → vi EmVI → iVI → i ×1
The move to watch is D → Em, heard 6 times. From the Em side it is VII → i (Aeolian arrival: rises a whole tone into home); from the G side it reads V → vi (deceptive cadence: expected G, lands on Em). 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 D, land on D, F#, A — 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 Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- On Cm, follow the chord's notes (C · Eb · G) 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
Starting on Em, the song gives away its key from the very first bar. The backbone is D, C, Em, Bm — V–IV–vi–iii from the G side, VII–VI–i–v from the Em side. Cm briefly darkens the picture: minor iv — borrowed from the parallel minor. Keep an ear on D → Em (V → vi in G, VII → i in Em): Aeolian arrival — rises a whole tone into home. Ending on C, 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.
Ceylan Ertem - El Adamı 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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