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)
Moğollar - Umut Yolunu Bulur - Chord
Key G major – E minor Chords Em, D, G, Am, B7, A Easy key C (capo 7)
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Key: G | Em
Capo: 0
G D Em
Em Am D Em Am
Savrulurken düşünceler, her an aklımda
Em Am D Em Am
Ben kalırım zaman gider, bakmaz ardına
G D Em G D Em
Gün değirmeni boş duvarlarda
G D Em G D Em
Dur dönüp durma, dur dönüp durma
Em Am D Em Am
Her günüm köprü oldu bilinmez bir ana
Em Am D Em Am
Yürüdükçe yalnızlaşır döndüm varlığıma
G D Em G D Em
Gördüm kendimi kirli aynada
G D Em G D Em
Çizdim yeniden boş bir sayfada
Em G
Can dayanır keder yorulur,
A Am Em
Karanlık elbet güneşi doğurur
G B7
En bulanık sular bile durulur,
Em B7
Umut kaybolsa da yolunu bulur
Em Am D Em Am
Her günüm köprü oldu, bilinmez bir ana
Em Am D Em Am
Yürüdükçe yalnızlaşır, döndüm varlığıma
G D Em G D Em
Gördüm kendimi kirli aynada
G D Em G D Em
Çizdim yeniden boş bir sayfada
Em G
Can dayanır keder yorulur,
A Am Em
Karanlık elbet güneşi doğurur
G B7
En bulanık sular bile durulur,
Em B7
Umut kaybolsa da yolunu bulur
End of song Play again?
Moğollar - Umut Yolunu Bulur Tabs
NotesX
Harmony analysis
Moğollar – Umut Yolunu Bulur: key and chord analysis
The song opens on G and ends on B7. 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 it opens on G, Em is heard 31 times against 17 for G and 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 | 17× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 14× |
| V/V | A | Secondary dominant V/V — leads to Dsecondary dominant | A · C# · E | 2× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V7/vi | B7 | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# · A | 4× |
| IV | C | Subdominant — moves away from home | C · E · G | — |
| V | D | Dominant — strongest pull home | D · F# · A | 19× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 31× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 31× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 17× |
| iv | Am | Subdominant — moves away from home | A · C · E | 14× |
| IV | A | Major IV — Dorian / melodic-minor colourmodal colour | A · C# · E | 2× |
| v | Bm | Minor dominant — soft pull | B · D · F# | — |
| V7 | B7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# · A | 4× |
| VI | C | Submediant — warm colour | C · E · G | — |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 19× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 87 times in total; 4 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 B7 is V7/vi, a secondary dominant heading for Em. A acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×19
- Am D Gii → Vii → V Emiv → VII ×6
- Am Em Gii → vi Emiv → iminor plagal ×5
- B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×3
The move to watch is D → Em, heard 19 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 Em, land on E, G, B — 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.
- Over G, land on G, B, D — 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
The opening G lays a solid floor for everything that follows. The chords that keep coming back are Em, D, G, Am; read them as vi–V–I–ii in G or i–VII–III–iv in Em. B7 is the interesting twist: in G it is a chromatic chord (V7/vi), while in Em it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on D → Em (V → vi in G, VII → i in Em): Aeolian arrival — rises a whole tone into home. It closes on B7, letting the G side have the last word.
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.
Moğollar - Umut Yolunu Bulur 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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