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)
Dolu Kadehi Ters Tut - Kaçar Gider - Chord
Key G major – E minor Chords Em, D, Bm, A, C Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em Senle ben ve bence aramızda tek bi karış D Olmalıydı. Lakin hep bi gerginlik, bi barış Bm A Bu yarış, kazanmadıkça bitmiyor Em Sanki hep mi birdi aklımız da şimdi farklı D Çözmeliydik bence en başında, hep tur attık Bm A Kapattık ve şimdi üstümüzde geziyor Em Kaçar gider yine gözlerin D Yeterli değil miydi sözlerim Bm C Seni biraz daha tutmaya yanımda Em "Olmasan olur mu" yu denedim D İlk attığım adımda sendeledim Bm C Em Beni biraz daha tutsana yanındaa Em Gittiğinde gündüzüm gecem bi hayli şaştı D Yalnızım ve ben bu fikre çok yabancılaştım Bm A Baktım, sen olmayınca olmuyor Em Bildiğim ne varsa söyledim. Bıraksan artık D İnadı, gel benimle, belki dersin "İyi ki tattık, atlattık" Bm A Hayallerim bir bitmiyor Em Kaçar gider yine gözlerin D Yeterli değil miydi sözlerim Bm C Seni biraz daha tutmaya yanımda Em "Olmasan olur mu" yu denedim D İlk attığım adımda sendeledim Bm C Em Beni biraz daha tutsana yanındaa
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Dolu Kadehi Ters Tut - Kaçar Gider Tabs
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Harmony analysis
Dolu Kadehi Ters Tut – Kaçar Gider: key and chord analysis
The song opens on Em 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: to us the song feels closer to the E minor side because it both starts and finishes on Em and Em is heard 10 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 | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | — |
| V/V | A | Secondary dominant V/V — leads to Dsecondary dominant | A · C# · E | 4× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 8× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 4× |
| V | D | Dominant — strongest pull home | D · F# · A | 8× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 10× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 10× |
| 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 | — |
| IV | A | Major IV — Dorian / melodic-minor colourmodal colour | A · C# · E | 4× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 8× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 4× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 8× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 34 times in total; 4 of them sit naturally inside the shared scale. A acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- C Em GIV → vi EmVI → iVI → i ×4
The move to watch is C → Em, heard 4 times. From the Em side it is VI → i (VI → i: falls a half step into home); from the G side it reads IV → vi. 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 Em, land on E, G, B — 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 Bm, land on B, D, F# — 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
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
Starting on Em, the song gives away its key from the very first bar. The backbone is Em, D, Bm, A — vi–V–iii–V/V from the G side, i–VII–v–IV from the Em side. A adds a moment of surprise: secondary dominant V/V — leads to D. Keep an ear on C → Em (IV → vi in G, VI → i in Em): VI → i — falls a half step into home. Ending on Em, the song seals Em 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.
Dolu Kadehi Ters Tut - Kaçar Gider 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: Dolu Kadehi Ters TutMusic: Dolu Kadehi Ters Tut
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