Birsen Tezer - Ne Tuhaf (İlhan Şeşen) - Chord

Key G major – E minor Chords C, G, Am, Bm, B7, D, B Easy key C (capo 7)

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Capo 0

     G                        C
Her şey yarım kaldı yine ne tuhaf
      Bm                       Am
Aşk yarım nefret yarım hayat yarım
      G                      C
Bir yanım kaçar gibi kovalar bir yanım
      Bm                  Am
Ne kaldı geriye temiz ve saf

        G                  B7
Biraz senin yarın biraz benim yarım
         C                  G
Bir tek ben bilirim seni sevdiğimi
        D        C     Am
Bir de sen bilirsin biraz

       C                Bm
Kalabalık kuytularda boğulur çığlıklarım
     Am                      G
Kuru bir teselli bulurum ben kendi haline
        C                    Bm
Vazgeçilmez tutkularda kaybolur yaşadıklarım
     Am                     B
Dağılıp giden bir sis halinde

     G                C
Uzaktan gelir gibi sesin
      Bm                 Am
Sanki hep başka bir alemdesin
       G                 C
Her şeyde biraz seni bulurum
         Bm                Am
Nerde olsam aklımdasın biraz

        G                  B7
Biraz senin yarın biraz benim yarım
         C                  G
Bir tek ben bilirim seni sevdiğimi
        D        C     Am
Bir de sen bilirsin biraz

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Birsen Tezer - Ne Tuhaf (İlhan Şeşen) Tabs

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Harmony analysis

Birsen Tezer – Ne Tuhaf (İlhan Şeşen): key and chord analysis

The song opens on G and ends on Am. 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 G major side because it opens on G, G is heard 9 times while Em never appears and the major V chord points straight at Em. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.

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	9×
ii	Am	Supertonic — prepares the dominant	A · C · E	8×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	6×
III7	B7	Chromatic colour chordoutside the key	B · D# · F# · A	2×
III	B	Chromatic colour chordoutside the key	B · D# · F#	1×
IV	C	Subdominant — moves away from home	C · E · G	10×
V	D	Dominant — strongest pull home	D · F# · A	2×
vi	Em	Relative minor — the melancholy side	E · G · B	—
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	—
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	9×
iv	Am	Subdominant — moves away from home	A · C · E	8×
v	Bm	Minor dominant — soft pull	B · D · F#	6×
V7	B7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F# · A	2×
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	10×
VII	D	Subtonic — steps back to the tonic	D · F# · A	2×

Analysis

The key pair is G major and its relative E minor (1 sharp). 7 different chords appear 38 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.

Chord movement

C G GIV → Iplagal cadence EmVI → III ×2
Am B Gii → III Emiv → Viv → V ×1

The move to watch is C → G, heard 2 times. From the G side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Em side it is VI → III. 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 G, land on G, B, D — the chord's own tones always sound right on strong beats.
Over Am, land on A, C, E — 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

5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

Starting on G, the song gives away its key from the very first bar. C, G, Am, Bm carry the song: IV–I–ii–iii relative to G, VI–III–iv–v relative to Em. B7 is the interesting twist: in G it is a chromatic chord (III7), while in Em it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on C → G (IV → I in G, VI → III in Em): plagal cadence — the soft 'amen' ending. Ending on Am, 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.