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)
Oğuzhan Uğur - Madım mı - Chord
Key G major – E minor Chords C, Am, Em, D, G, F#m Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Em C
Aynaya bakınca anlayacaksın
Am
Sen yalnız kalınca ağlayacaksın
C Am
O küçük ellerin üşüyüp yazda
C Am Em
Sen beni o zaman arayacaksın
Em
Hiç kimse duymayıp sesini başka
D
Halini sormayıp seni tek başına
C Am
Bırakıp da hayat gelince bana
C Am G F#m Em
Sen beni o zaman anlayacaksın
Em
Ben seni bu yollardan kurtarmadım mı
C Am
Düştüğün çukurlardan çıkarmadım mı
C Am
Korktuğun karanlıktan kalbime alıp
C Am D Em
Ben seni herkesten sakınmadım mı
Em
Sen bana yine böyle yüzünü asıp
C Am
Ettiğin yeminleri yerlere atıp
C Am
Hiç bir şey söylemeden gidiyorsun ya
C Am D Em
Sen beni üzmekten sıkılmadın mı
End of song Play again?
Oğuzhan Uğur - Madım mı Tabs
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Harmony analysis
Oğuzhan Uğur – Madım mı: 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.
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 8 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | 1× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 11× |
| 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 | 11× |
| V | D | Dominant — strongest pull home | D · F# · A | 3× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 8× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| vii | F#m | Chromatic colour chordoutside the key | F# · A · C# | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 8× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| ii | F#m | Chromatic colour chordoutside the key | F# · A · C# | 1× |
| III | G | Relative major — the bright side | G · B · D | 1× |
| iv | Am | Subdominant — moves away from home | A · C · E | 11× |
| 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 | 11× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 3× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 35 times in total; 5 of them sit naturally inside the shared scale. F#m step outside the scale as colour chords.
Chord movement
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×2
- Am D Gii → Vii → V Emiv → VII ×2
- Am Em Gii → vi Emiv → iminor plagal ×1
The move to watch is D → Em, heard 2 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 C, land on C, E, G — 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.
- Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
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 first chord is Em; the ear learns where home is within a second. C, Am, Em, D carry the song: IV–ii–vi–V relative to G, VI–iv–i–VII relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D → Em (V → vi in G, VII → i in Em): Aeolian arrival — rises a whole tone into home. 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.
Oğuzhan Uğur - Madım mı 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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