Zeynep Bastık - Her Yerde Sen - Chord

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

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Capo 0

Em       Am     Bm          Em
Yalnızlıksa konuyu bilen benim
        Am   Bm          Em
Sorgusuzca yine seven benim
        Am     Bm        Em
Zamansızca karşımda hayalin
        Am     Bm          A
Rica etsem lütfen gider misin

A                  Am                C
Durmak yoktu aşksa, inanmışım yalancıya
                Am        Bm           Em
Kalbim senle durdu, hepsi boşlukmuş oysa

Em                              Am            Bm
İşimde gücümde sağımda solumda, ah her yerde sen
Em                              Am           Bm
Evimde, odamda ne işin var, ama bıktım artık senden
Em                             Am
Bir de artık keşke durup durup aklıma gelmesen
  C    Bm      Am           C            Em
E anlatsam anlamazsın mevzu büyük kalbinden

End of song Play again?

Zeynep Bastık - Her Yerde Sen Tabs

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Harmony analysis

Zeynep Bastık – Her Yerde Sen: 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)

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 and Em is heard 9 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.

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	10×
II	A	Chromatic colour chordoutside the key	A · C# · E	2×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	8×
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×
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	9×
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	9×
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	10×
IV	A	Major IV — Dorian / melodic-minor colourmodal colour	A · C# · E	2×
v	Bm	Minor dominant — soft pull	B · D · F#	8×
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×
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). 5 different chords appear 32 times in total; 4 of them sit naturally inside the shared scale. A step outside the scale as colour chords.

Chord movement

Bm Em Giii → vi Emv → inatural-minor cadence ×6
C Em GIV → vi EmVI → iVI → i ×1

The move to watch is Bm → Em, heard 6 times. From the Em side it is v → i (natural-minor cadence: gentle, modal arrival); from the G side it reads iii → 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 Am, land on A, C, E — 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 Bm, land on B, D, F# — 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

5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

Starting on Em, the song gives away its key from the very first bar. The backbone is Am, Em, Bm, C — ii–vi–iii–IV from the G side, iv–i–v–VI from the Em side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm → Em (iii → vi in G, v → i in Em): natural-minor cadence — gentle, modal arrival. It closes on Em, letting the Em side have the last word.

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.