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)
Sura İskenderli - Kopamıyorum Senden - Chord
Key G major – E minor Chords Bm7, D7, C7, Am7, C, Em, Cmaj7, D Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Em Cmaj7 D7 Bm7 C7 Bm7 Am7 D7 C Bm7
Bm7 C7 Bm7
Git dönme ya da kal gitme
C7 Bm7
İki çift sözüm sana yeter üzme
D C Am7 Bm7
Zaten yenik düştüm kaldıran yok
D C Am7 Bm7
Sözlerin ağırlaştı, hafifleten yok
Em Cmaj7 D7
Kopamıyorum senden ve bunu bilem tek sen
Bm7 C7
Ne değişti birden uzak kaldık bizden
D7 Am7 D7
Sardı korku beniiii içinde kaldım sanki
C7 Am7 Bm7
Çareler içinde çaresiz kaldım
End of song Play again?
Sura İskenderli - Kopamıyorum Senden Tabs
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Harmony analysis
Sura İskenderli – Kopamıyorum Senden: key and chord analysis
The song opens on Em and ends on Bm7. 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 2 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 | — |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 5× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 10× |
| 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× |
| IVmaj7 | Cmaj7 | Subdominant — moves away from home | C · E · G · B | 2× |
| IV7 | C7 | Chromatic colour chordoutside the key | C · E · G · Bb | 5× |
| V7 | D7 | Dominant — strongest pull home | D · F# · A · C | 5× |
| V | D | Dominant — strongest pull home | D · F# · A | 2× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 2× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 2× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 5× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 10× |
| 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× |
| VImaj7 | Cmaj7 | Submediant — warm colour | C · E · G · B | 2× |
| VI7 | C7 | Chromatic colour chordoutside the key | C · E · G · Bb | 5× |
| VII7 | D7 | Subtonic — steps back to the tonic | D · F# · A · C | 5× |
| 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). 8 different chords appear 34 times in total; 7 of them sit naturally inside the shared scale. C7 step outside the scale as colour chords.
Chord movement
- Cmaj7 D7 GIVmaj7 → V7IV → V EmVImaj7 → VII7VI → VII ×2
- Am7 D7 Gii7 → V7ii → V Emiv7 → VII7 ×2
- Bm7 Em Giii7 → vi Emv7 → inatural-minor cadence ×1
- C7 D7 GIV7 → V7IV → V EmVI7 → VII7VI → VII ×1
The move to watch is Cmaj7 → D7, heard 2 times. From the Em side it is VImaj7 → VII7 (VI → VII: the rising step that heads for the tonic); from the G side it reads IVmaj7 → V7 (IV → V: the lift that builds tension before home). 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 Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over D7, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over C7, 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. Bm7, D7, C7, Am7 carry the song: iii7–V7–IV7–ii7 relative to G, v7–VII7–VI7–iv7 relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cmaj7 → D7 (IVmaj7 → V7 in G, VImaj7 → VII7 in Em): VI → VII — the rising step that heads for the tonic. Ending on Bm7, the song seals G 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.
Sura İskenderli - Kopamıyorum Senden 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: Bahar AteşMusic: Bahar Ateş
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