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)
İlhan İrem - Konuşamıyorum - Chord
Key G major – E minor Chords B, C, Em, Am, D, G Easy key C (capo 7)
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Key: G | Em
Capo: 0
B Em C
Sazlıklardan havalanan bir ördek gibi sesin
Am B C B
Ürkek, şaşkın, kararsız, duyuyorum
B Em C
Ve sen bir gökkuşağı kadar güzelsin
Am B C B
Rengarenk ve az sonra gidecek, görüyorum
B Em C
Ve ben yağmurlar altında bir yolcu
Am B C B
Islak, yorgun, tutkulu, yürüyorum
Am B C D
Sensiz ben yolumu bulamam, haykırmak istiyorum
Em Am D G
Konuşamıyorum, konuşamıyorum, konuşamıyorum
Em Am D G Em Am D
Konuşursam, gözyaşlarım beni boğacak
C D C Em
Biliyorum, duyuyorum, görüyorum, konuşamıyorum
Em Am D G Em Am D G
B Em C
Bu ayrılık akşamında sen sustuğuma bakma
Am B C B
Konuşmaya gücüm yok, beni anla
Em C
Söyleyemediklerimi bak gözlerimden anla
Am B C B
Her zaman yanımda kal, hiç bırakma
End of song Play again?
İlhan İrem - Konuşamıyorum Tabs
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Harmony analysis
İlhan İrem – Konuşamıyorum: 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.
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 11 times against 4 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 | 4× |
| 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# | 15× |
| IV | C | Subdominant — moves away from home | C · E · G | 13× |
| V | D | Dominant — strongest pull home | D · F# · A | 7× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 11× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 11× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 4× |
| 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# | 15× |
| VI | C | Submediant — warm colour | C · E · G | 13× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 7× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 61 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; seen from G, the same B is V/vi, a secondary dominant heading for Em.
Chord movement
- Am B Gii → V/vi Emiv → Viv → V ×6
- B Em GV/vi → vi EmV → iharmonic-minor cadence ×5
- Am D Gii → Vii → V Emiv → VII ×5
- D G GV → Iauthentic cadence EmVII → III ×4
- C D GIV → VIV → V EmVI → VIIVI → VII ×2
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×1
The move to watch is Am → B, heard 6 times. From the Em side it is iv → V (iv → V: the minor side's tension builder); from the G side it reads ii → V/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 first chord is B; the ear learns where home is within a second. The chords that keep coming back are B, C, Em, Am; read them as V/vi–IV–vi–ii in G or V–VI–i–iv in Em. 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 Am → B (ii → V/vi in G, iv → V in Em): iv → V — the minor side's tension builder. Ending on B, 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.
İlhan İrem - Konuşamıyorum 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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