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)
Cengiz Özkan - Deli Gönül Feryat Etme Boşuna - Chord
Key G major – E minor Chords G, Em, Am, D, F#dim Difficulty already in its easiest key
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Key: G | Em
Capo: 0
G D Em Deli gönül feryat etme boşuna G Em Am Deli gönül feryat etme boşuna Em Am G Em Hal bilmez kişiye yar olamazsın Am G Am Bir mürşide bağlamazsan özünü G F#dim G Hakkın huzurunda var olamazsın Am Em Medet sevdiğim G D Em Vefasız güzelden olur mu çare G Em Am Vefasız güzelden olur mu çare Em Am G Em Yoruldum derdimle öldüm bin kere Am G Am Düşme bir zalime göz göre göre G F#dim G Sen insanoğlusun kör olamazsın Am Em Medet sevdiğim G D Em Akarsu bülbüller ötmez bağımda G Em Am Akarsu bülbüller ötmez bağımda Em Am G Em Dumanlar eğlenir gönül dağımda Am G Am Aşk ateşi yanar oldu bağrımda G F#dim G Yanmış yüreğime kar olamazsın Am Em Medet sevdiğim
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Cengiz Özkan - Deli Gönül Feryat Etme Boşuna Tabs
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Harmony analysis
Cengiz Özkan – Deli Gönül Feryat Etme Boşuna: key and chord analysis
The song opens on G 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: we can't honestly pick a side here — the song moves freely between G major and E minor because it comes to rest on Em, it opens on G and G is heard 18 times against 15 for Em. Try reading the chords both ways and see which feels more like home to you.
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 | 18× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 15× |
| 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 | — |
| V | D | Dominant — strongest pull home | D · F# · A | 3× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 15× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | 3× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 15× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | 3× |
| III | G | Relative major — the bright side | G · B · D | 18× |
| iv | Am | Subdominant — moves away from home | A · C · E | 15× |
| 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 | — |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 3× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 54 times in total; 5 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
- Am Em Gii → vi Emiv → iminor plagal ×6
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×3
The move to watch is Am → Em, heard 6 times. From the G side it reads ii → vi; from the Em side it is iv → i (minor plagal: deep and melancholic). 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 G, land on G, B, D — 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 G; the ear learns where home is within a second. The backbone is G, Em, Am, D — I–vi–ii–V from the G side, III–i–iv–VII from the Em side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am → Em (ii → vi in G, iv → i in Em): minor plagal — deep and melancholic. 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.
Cengiz Özkan - Deli Gönül Feryat Etme Boşuna 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: Muhlis AkarsuMusic: Ahmet Turan Şan
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