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 - Anamız Babamız Yok Deriz - Chord
Key G major – E minor Chords G, C, Am, Em, F#m, D, E, A … Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Em G
Anne tepkisi, baba korkusu, ağabey yargısı
F#m
Mahalle baskısı, komşunun gözü, ebesinin
C
Hangisinden kaçmalı?
D
Nerelere saklanmalı?
Em G
Dayım mı görmüş? Halam mı duymuş? Dedem işitmiş
F#m
Anneannem küsmüş, babaannem kusmuş içindeki
C
Nefreti ve öfkeyi
D
Silmiş atmış her şeyi
Am G
Kimseyi takmadan yaşamak varken
Am G
Uyuyamaz oldum düşünmekten
E C A G
Ya bizi böyle yakalarlarsa, kapının ardında sevişirken?
Em C B G
Ya bizi böyle gören olursa, koridorda sessizce öpüşürken?
Am G
Anamız, babamız yok deriz
Am G
Evimiz, yurdumuz yok, deriz
End of song Play again?
Dolu Kadehi Ters Tut - Anamız Babamız Yok Deriz Tabs
NotesX
Harmony analysis
Dolu Kadehi Ters Tut – Anamız Babamız Yok Deriz: key and chord analysis
The song opens on Em and ends on G. 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: we can't honestly pick a side here — the song moves freely between G major and E minor because it comes to rest on G, it opens on Em, G is heard 8 times against 3 for Em and the major V chord points straight at Em. Try reading the chords both ways and see which feels more like home to you.
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 | 8× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 4× |
| V/V | A | Secondary dominant V/V — leads to Dsecondary dominant | A · C# · E | 1× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | 1× |
| IV | C | Subdominant — moves away from home | C · E · G | 4× |
| V | D | Dominant — strongest pull home | D · F# · A | 2× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 3× |
| V/ii | E | Secondary dominant V/ii — leads to Amsecondary dominant | E · G# · B | 1× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| vii | F#m | Chromatic colour chordoutside the key | F# · A · C# | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 3× |
| V/iv | E | Secondary dominant V/iv — leads to Amsecondary dominant | E · G# · B | 1× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| ii | F#m | Chromatic colour chordoutside the key | F# · A · C# | 2× |
| III | G | Relative major — the bright side | G · B · D | 8× |
| iv | Am | Subdominant — moves away from home | A · C · E | 4× |
| IV | A | Major IV — Dorian / melodic-minor colourmodal colour | A · C# · E | 1× |
| 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# | 1× |
| VI | C | Submediant — warm colour | C · E · G | 4× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 2× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 9 different chords appear 26 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. E, A act as secondary dominants, briefly pointing at another chord of the key.
Chord movement
- C D GIV → VIV → V EmVI → VIIVI → VII ×2
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×1
The move to watch is C → D, heard 2 times. From the G side it reads IV → V (IV → V: the lift that builds tension before home); from the Em side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 G, land on G, B, D — 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 Am, land on A, C, E — 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
The song is already written in its easiest key for guitar.
The song's harmonic story
The opening Em lays a solid floor for everything that follows. The chords that keep coming back are G, C, Am, Em; read them as I–IV–ii–vi in G or III–VI–iv–i in Em. E is the interesting twist: in G it is a chromatic chord (V/ii), while in Em it becomes the dominant (V/iv) that makes the minor side sound so determined. Keep an ear on C → D (IV → V in G, VI → VII in Em): IV → V — the lift that builds tension before home. The final chord is G; 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 - Anamız Babamız Yok Deriz 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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