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)
Sıla - Alain Delon - Chord
Key G major – E minor Chords Bm, G, F#7, C, Am, Em Easy key C (capo 7)
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Key: G | Em
Capo: 0
Bm Bütün gün öyle oturdum evde Tadım tuzum yok olur ya öyle C Am Bm Duvarların da ağzı var dili yok Bm Hadi kalk giyin gez toz dedim Azcık da sen boz dedim C Am Bm Aradım taradım kimse evde yok Bm G Işıklı janjanlı girdim rastgele bir kapıdan Bm G Meğer herkes burdaymış bihabermişim dünyadan Bm G Kızlarla laflarken sen göründün bir anda Bm G F#7 Bi numaralar Allah Allah bu ne n`oluyor ya Bm F#7 Babababa havalara nasıl da geriniyor Bm F#7 Alain Delon`um benim nasıl da kasılıyor Em Bm No no no almayayım başkası alsın G F#7 Tipim değilsin üstü kalsın Bm Nasıl da yalnız ve çıplak herkes Mutsuz ve damsız herkes C Am Bm Benim de bundan aşağı kalır yanım yok
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Sıla - Alain Delon Tabs
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Harmony analysis
Sıla – Alain Delon: key and chord analysis
The song opens on Bm and ends on Bm. 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 G major side because G is heard 5 times against 1 for Em. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.
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 | 5× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 3× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 13× |
| 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 | 1× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| V7/iii | F#7 | Secondary dominant V/iii — leads to Bmsecondary dominant | F# · A# · C# · E | 4× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 1× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| V7/v | F#7 | Secondary dominant V/v — leads to Bmsecondary dominant | F# · A# · C# · E | 4× |
| III | G | Relative major — the bright side | G · B · D | 5× |
| iv | Am | Subdominant — moves away from home | A · C · E | 3× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 13× |
| 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). 6 different chords appear 29 times in total; 5 of them sit naturally inside the shared scale. F#7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- F#7 Bm GV7/iii → iiisecondary resolution EmV7/v → v ×3
The move to watch is F#7 → Bm, heard 3 times. From the G side it reads V7/iii → iii (secondary resolution: F#7 resolves a fourth up to Bm); from the Em side it is V7/v → v. 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 Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
- Over F#7, land on F#, A#, C# — 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 Bm, the song gives away its key from the very first bar. The backbone is Bm, G, F#7, C — iii–I–V7/iii–IV from the G side, v–III–V7/v–VI from the Em side. F#7 adds a moment of surprise: secondary dominant V/iii — leads to Bm. Keep an ear on F#7 → Bm (V7/iii → iii in G, V7/v → v in Em): secondary resolution — F#7 resolves a fourth up to Bm. The final chord is Bm; the ear comes to rest in G.
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.
Sıla - Alain Delon 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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