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)
Orhan Gencebay - İç Benim İçin - Chord
Key G major – E minor Chords B, D, Em, C, Am, G, Bm Easy key C (capo 7)
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Key: G | Em
Capo: 0
B Em D
Kapını çalarsa mazinin eli
C B
Ne olur bir şişe aç benim için
Em D
Ben hiç ayılmadım gittin gideli
C B
Sende birkaç kadeh iç benim için
C B
Sende birkaç kadeh iç benim için
Am G
Bir gece veda et tatlı uykuna
D Em
Girdiğin günahı of sarhoşken kına
Am G
Yarıda bırakma Allah aşkına
D Em B
Bu gece kendinden geç geç benim için
C B
Nasıl bir yanlışa ben adım attım
C B
Nasıl bu günahın zehrini tattım
G Em Am D
Sana nasıl kıydım, nasıl aldattım
G D Em D
Anlatmak o kadar güç güç benim için
Am C B
Anlatmak o kadar güç güç benim için
B Em D
Hoşgörme affetme yaptıklarımı
C B
Kaldır yeryüzünden artıklarımı
Em D
Tutuştur resmimi mektuplarımı
C B
Savur küllerini saç benim için
Am G
Maziden eserse hasretin yeri
D Em
O güzel günlere uç uç benim için
Am G
Ben hiç ayılmadım gittin gideli
D Em Bm
Sende birkaç kadeh iç iç benim için
C B
Nasıl bir yanlışa ben adım attım
C B
Nasıl bu günahın zehrini tattım
G Em Am D
Sana nasıl kıydım, nasıl aldattım
G D Em D
Anlatmak o kadar güç güç benim için
Am C B
Anlatmak o kadar güç güç benim için
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Orhan Gencebay - İç Benim İçin Tabs
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Harmony analysis
Orhan Gencebay – İç Benim İçin: key and chord analysis
The song opens on B and ends on B. 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: to us the song feels closer to the E minor side because Em is heard 12 times against 8 for G 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | 8× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 8× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 1× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | 14× |
| IV | C | Subdominant — moves away from home | C · E · G | 11× |
| V | D | Dominant — strongest pull home | D · F# · A | 14× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 12× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 12× |
| 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 | 8× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 1× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | 14× |
| VI | C | Submediant — warm colour | C · E · G | 11× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 14× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 7 different chords appear 68 times in total; 6 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
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×6
- B Em GV/vi → vi EmV → iharmonic-minor cadence ×4
- D G GV → Iauthentic cadence EmVII → III ×2
- Am D Gii → Vii → V Emiv → VII ×2
The move to watch is D → Em, heard 6 times. From the Em side it is VII → i (Aeolian arrival: rises a whole tone into home); from the G side it reads V → vi (deceptive cadence: expected G, lands on Em). 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 B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- Over D, land on D, F#, 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.
- 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
The song's harmonic story
The first chord is B; the ear learns where home is within a second. B, D, Em, C carry the song: V/vi–V–vi–IV relative to G, V–VII–i–VI relative to 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 D → Em (V → vi in G, VII → i in Em): Aeolian arrival — rises a whole tone into home. It closes on B, letting the G 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.
Orhan Gencebay - İç Benim İçin 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: Cemal SafiMusic: Orhan Gencebay
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