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)
Dolu Kadehi Ters Tut - Yapma N'olursun - Chord
Key G major – E minor Chords Em, D, C, Am Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Em D C
Ananas gibi, ahududu gibi ama daha çok avokado gibi tabi
Em D C
Bunu ben bilirim, bir de benim gibileri, inan ki, inan ki
Em D C
Denedin bizi ruhumun ikizi, sandım aynı parmaklarımızın izi
Em D C
Seni gördüğümde vurdu bir kalp krizi, inan ki, inan ki
Em D C
Yaramaz kedi, yok ki tabi dili, nasıl söyler ki sana olanı biteni
Em D C
Yokluğunda kaldım ben bir kemik, bir deri, inan ki, inan ki
C D
Zor, çok zor
Em Am Em Am
Yapma n'olursun, bırak o yerimi doldursun
Em Am C D
Bana ihtiyacın olursa, sarıl ona elbet unutursun
Em D C
Dediler, Seni sordu yine biri, kalbi masmavi denizler gibi,
Em D C
Bunu duyduğumda ben öldüm bir nevi, inan ki, inan ki
Em D C
Sıcacık teni, kıvrımlı beli, nasıl unuturum ki boynundaki o beni
Em D C
Bunlar yine başımı döndürmemeli, ah zor ki, inan ki
Em D C
Dönemem geri, olmalıyım deli, girmişse kalbine bambaşka biri
Em D C
Hatırımda gittiğin gün dün gibi, inan ki, inan ki
C D
Zor, çok zor
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Dolu Kadehi Ters Tut - Yapma N'olursun Tabs
NotesX
Harmony analysis
Dolu Kadehi Ters Tut – Yapma N'olursun: key and chord analysis
The song opens on Em and ends on D. 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 opens on Em and Em is heard 15 times while G never appears. 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 | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 3× |
| 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 | 15× |
| V | D | Dominant — strongest pull home | D · F# · A | 15× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 15× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| 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 | 3× |
| 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 | 15× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 15× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 4 different chords appear 48 times in total; 4 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- C Em GIV → vi EmVI → iVI → i ×10
- C D GIV → VIV → V EmVI → VIIVI → VII ×3
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×2
- Am Em Gii → vi Emiv → iminor plagal ×2
The move to watch is C → Em, heard 10 times. From the Em side it is VI → i (VI → i: falls a half step into home); from the G side it reads IV → 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 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 C, land on C, E, G — 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. The backbone is Em, D, C, Am — vi–V–IV–ii from the G side, i–VII–VI–iv from the Em side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → Em (IV → vi in G, VI → i in Em): VI → i — falls a half step into home. The final chord is D; the ear comes to rest in G.
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.
Dolu Kadehi Ters Tut - Yapma N'olursun 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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Lyrics: Dolu Kadehi Ters TutMusic: Dolu Kadehi Ters Tut
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