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)
Aşık Veysel - Uzun İnce Bir Yoldayım - Chord
Key G major – E minor Chords Dsus2, Em, Am, G, Asus2, C Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Am Dsus2 Em G Am Dsus2 Em Uzun ince bir yoldayım Am Dsus2 Em G Am Dsus2 Em Gidiyorum gündüz gece Dsus2 Asus2 Bilmiyorum ne haldayım Em G Gidiyorum gündüz gece Am C Gündüz gece gündüz gece Dsus2 Em Gündüz gece vay Am Dsus2 Em G Am Dsus2 Em Dünyaya geldiğim anda Am Dsus2 Em G Am Dsus2 Em Yürüdüm hayli zamanda Dsus2 Asus2 İki kapılı bir handa Em Gidiyorum gündüz gece Am C Gündüz gece gündüz gece Dsus2 Em Gündüz gece vay Am Dsus2 Em G Am Dsus2 Em Şaşar Veysel iş bu hale Am Dsus2 Em G Am Dsus2 Em Gah ağlayı gahı güle Dsus2 Asus2 Yetişmek için menzile Em G Gidiyorum gündüz gece Am C Gündüz gece gündüz gece Dsus2 Em Gündüz gece vay
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Aşık Veysel - Uzun İnce Bir Yoldayım Tabs
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Harmony analysis
Aşık Veysel – Uzun İnce Bir Yoldayım: key and chord analysis
The song opens on Am 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 comes to rest on Em and Em is heard 18 times against 8 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 | 8× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 15× |
| IIsus2 | Asus2 | Supertonic — prepares the dominant | A · B · 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 | 3× |
| Vsus2 | Dsus2 | Dominant — strongest pull home | D · E · A | 18× |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| vi | Em | Relative minor — the melancholy side | E · G · B | 18× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 18× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 8× |
| iv | Am | Subdominant — moves away from home | A · C · E | 15× |
| IVsus2 | Asus2 | Subdominant — moves away from home | A · B · 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 | 3× |
| VIIsus2 | Dsus2 | Subtonic — steps back to the tonic | D · E · A | 18× |
| 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). 6 different chords appear 65 times in total; 6 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
- Dsus2 Em GVsus2 → vi EmVIIsus2 → iAeolian arrival ×15
- C Dsus2 GIV → Vsus2 EmVI → VIIsus2VI → VII ×3
The move to watch is Dsus2 → Em, heard 15 times. From the Em side it is VIIsus2 → i (Aeolian arrival: rises a whole tone into home); from the G side it reads Vsus2 → 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 Dsus2, land on D, E, A — 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.
- Over Am, land on A, C, E — 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 Am; the ear learns where home is within a second. The chords that keep coming back are Dsus2, Em, Am, G; read them as Vsus2–vi–ii–I in G or VIIsus2–i–iv–III in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dsus2 → Em (Vsus2 → vi in G, VIIsus2 → i in Em): Aeolian arrival — rises a whole tone into home. Ending on Em, the song seals Em 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.
Aşık Veysel - Uzun İnce Bir Yoldayım 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: Aşık VeyselMusic: Aşık Veysel
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