Reynmen - Radyoda Neşet - Chord

Key G major – E minor Chords B, C Easy key C (capo 7)

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Capo 0

B               C
Radyoda Neşet altında Mercedes
  B
Bedenim beden değil
  C
Yürüyen bir ceset
B
Ben bende değilim bugün
C
Yar senden geçtim küskün
B
Koştum yoruldum düştüm
C
 Kimin umrunda

B
Tadım tuzum yok
C               B
 Bu gece meyhanedeyim
C                 B
 Kendimi ziyan edeyim
C                B
 İstersen can edeyim
C                 B
 Yoktan mı var edeyim

B
 Off bedenim bir hapishane
C
 Hatıralarınsa müebbet
B
 Yokluğun felaket
C
 Görmedim böyle bir esaret
B
 Unutuyorum nihayet
C
 Derken kopuyor kıyamet
B
 Nasıl geldim bu hale
C
 Yine bana kaldı bu ihale

B               C
Radyoda Neşet altında Mercedes
  B
Bedenim beden değil
  C
Yürüyen bir ceset
B
Ben bende değilim bugün
C
Yar senden geçtim küskün
B
Koştum yoruldum düştüm
C
 Kimin umrunda

B
Tadım tuzum yok
C               B
 Bu gece meyhanedeyim
C                 B
 Kendimi ziyan edeyim
C                B
 İstersen can edeyim
C                 B
 Yoktan mı var edeyim

B          C
Yalvarırım yaradana
B             C
Açma bir daha yara bana
B             C
Terliklerimle gelsem sana
     B               C
Ne kadar uğraşsak ta olmaz daha

B
Tadım tuzum yok
C               B
 Bu gece meyhanedeyim
C                 B
 Kendimi ziyan edeyim
C                B
 İstersen can edeyim
C                 B
 Yoktan mı var edeyim

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Reynmen - Radyoda Neşet Tabs

NotesX

Harmony analysis

Reynmen – Radyoda Neşet: 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.

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)
#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 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.

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	—
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
III	B	Chromatic colour chordoutside the key	B · D# · F#	31×
IV	C	Subdominant — moves away from home	C · E · G	28×
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	—
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	—
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	—
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#	31×
VI	C	Submediant — warm colour	C · E · G	28×
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). 2 different chords appear 59 times in total; 1 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.

Chord movement

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 C, land on C, E, G — 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
1 semitone up

The song's harmonic story

The first chord is B; the ear learns where home is within a second. The backbone is B, C — III–IV from the G side, V–VI from the Em side. B is the interesting twist: in G it is a chromatic chord (III), while in Em it becomes the dominant (V) that makes the minor side sound so determined. The final chord is B; 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.