Anonim - Nazende Sevgilim - Chord

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

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Capo 0

B    C      B   Em       B
Değdi saçlarıma bahar gülleri 
B       C      B   Em     B 
Nazende sevgilim yadıma düştün 
Em   Am   C  B    C       Em
Sevenin bahtına bir güzel düşer 
Em                  B
Sen de tek sevgilim aklıma düştün 
C                Am        B
Nazende sevgilim yadıma düştün

B       C     B      Em      B
Gözlerim yoldadır, kulağım seste
B        C     B   Em      B 
Ben seni unutmam en son nefeste 
Em   Am    C   B     C      Em
Ey ceylan bakışlım, ey boyu beste 
Em                 B
Gurbette sevgilim aklıma düştün 
C                Am        B
Nazende sevgilim yadıma düştün
 
B      C       B     Em       B
Sensiz dağ yoluna çıktım bu seher 
B      C   B       Em     B
Öksüz kumru gibi güller laleler 
Em  Am    C   B    C     Em
Sen niye yalnızsın sordular eller 
Em                 B  
Gurbette sevgilim aklıma düştün 
C                Am        B
Nazende sevgilim yadıma düştün

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Anonim - Nazende Sevgilim Tabs

NotesX

Harmony analysis

Anonim – Nazende Sevgilim: key and chord analysis

The song opens on B and ends on B. 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 E minor side because Em is heard 15 times while G never appears 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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	—
ii	Am	Supertonic — prepares the dominant	A · C · E	6×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	27×
IV	C	Subdominant — moves away from home	C · E · G	15×
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	15×
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	15×
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	6×
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#	27×
VI	C	Submediant — warm colour	C · E · G	15×
VII	D	Subtonic — steps back to the tonic	D · F# · A	—

Analysis

The key pair is G major and its relative E minor (1 sharp). 4 different chords appear 63 times in total; 3 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.

Chord movement

B Em GV/vi → vi EmV → iharmonic-minor cadence ×9
C Em GIV → vi EmVI → iVI → i ×3
Am B Gii → V/vi Emiv → Viv → V ×3

The move to watch is B → Em, heard 9 times. From the Em side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the G side it reads V/vi → 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 B, land on B, D#, F# — 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.
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

5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

The opening B lays a solid floor for everything that follows. The backbone is B, C, Em, Am — V/vi–IV–vi–ii from the G side, V–VI–i–iv from the Em side. B is the interesting twist: in G it is a chromatic chord (V/vi), while in Em it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on B → Em (V/vi → vi in G, V → i in Em): harmonic-minor cadence — the major V resolves dramatically. It closes on B, 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.