Deniz Seki - Suya Hapsettim - Chord

Key G major – E minor Chords Em, Am, Bm, D, B Easy key C (capo 7)

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Capo 0

Em  Am  Am  Em

     Em            Bm           Am              Bm
Ne aşklar ne de itiraflar, ne adres ne boş sokaklar

     Em        Bm      Am                  Em
Sormadan bulamadım, belki de ben yolumu kaybettim
                Bm             Am                  Em
Okusam da söyleyemem adını, çünkü ben seni suya hapsettim

Em            Am          D                B
Ezberledim ben okuya okuya, bir türlü sana öğretemedim
Em          Am                  D                 B
Geceler boyu dizlerinin dibinde, uykum kaçsa bile uyanamadım

     Em        Bm      Am                  Em
Sormadan bulamadım, belki de ben yolumu kaybettim
    Em          Bm             Am                  Em
Okusam da söyleyemem adını, çünkü ben seni suya hapsettim

Em  Am  Am  Em

      Em              Bm        Am                    Bm
Ne kuşlar ne de o ağaçlar, görmeden geçirdiğim çok sabah var

      Em         Bm                   Am                       Em
Aşk diye diye kendimden bile bile, vazgeçtim derken yolu kaybettim
                  Bm             Am                     Em
Ağlasam da söyleyemem derdimi çünkü ben seni suya hapsettim

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Deniz Seki - Suya Hapsettim Tabs

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Harmony analysis

Deniz Seki – Suya Hapsettim: 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.

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)

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 it both starts and finishes on Em, Em is heard 18 times while G never appears 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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	—
ii	Am	Supertonic — prepares the dominant	A · C · E	14×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	10×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	2×
IV	C	Subdominant — moves away from home	C · E · G	—
V	D	Dominant — strongest pull home	D · F# · A	2×
vi	Em	Relative minor — the melancholy side	E · G · B	18×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
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	—
iv	Am	Subdominant — moves away from home	A · C · E	14×
v	Bm	Minor dominant — soft pull	B · D · F#	10×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	2×
VI	C	Submediant — warm colour	C · E · G	—
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). 5 different chords appear 46 times in total; 4 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 Em Gii → vi Emiv → iminor plagal ×8
B Em GV/vi → vi EmV → iharmonic-minor cadence ×2
Bm Em Giii → vi Emv → inatural-minor cadence ×2
Am D Gii → Vii → V Emiv → VII ×2

The move to watch is Am → Em, heard 8 times. From the Em side it is iv → i (minor plagal: deep and melancholic); from the G side it reads ii → 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Bm, land on B, D, F# — 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
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

The first chord is Em; the ear learns where home is within a second. The chords that keep coming back are Em, Am, Bm, D; read them as vi–ii–iii–V in G or i–iv–v–VII 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 → Em (ii → vi in G, iv → i in Em): minor plagal — deep and melancholic. 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.