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)
Yavuz Bingöl - Yar Yine Küsmüş - Chord
Key G major – E minor Chords Em, D, Am, Cmaj7 Difficulty already in its easiest key
No ratings yet
or your user informations
Make it yours
Text size
Key: G | Em
Capo: 0
Em Em Am Em Cmaj7 D Em Em Gurbet elde dünüm saklı yarınım yok D Em Bugünümde sen olmasan derdim çok D Em Yok ayrılmak darılmak küsmek hiç yok Em Yar yine küsmüş hiç gülmüyor Am Em Sevdalı gönlüm dur bilmiyor Cmaj7 D Em Yar bana küsmüş kal demiyoor Em Em Am Em Cmaj7 D Em Em Gülmeyince sen bu yaram dinmiyor D Em Dökülen kan yüreğim söndürmüyor D Em Olmuyor yar denedim hiç olmuyor Em Yar yine küsmüş hiç gülmüyor Am Em Sevdalı gönlüm dur bilmiyor Cmaj7 D Em Yar bana küsmüş kal demiyoor
End of song Play again?
Yavuz Bingöl - Yar Yine Küsmüş Tabs
NotesX
Harmony analysis
Yavuz Bingöl – Yar Yine Küsmüş: 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 20 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 | 4× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IVmaj7 | Cmaj7 | Subdominant — moves away from home | C · E · G · B | 4× |
| V | D | Dominant — strongest pull home | D · F# · A | 8× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 20× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 20× |
| 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 | 4× |
| 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# | — |
| VImaj7 | Cmaj7 | Submediant — warm colour | C · E · G · B | 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). 4 different chords appear 36 times in total; 4 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
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×8
- Am Em Gii → vi Emiv → iminor plagal ×4
- Cmaj7 D GIVmaj7 → VIV → V EmVImaj7 → VIIVI → VII ×4
The move to watch is D → Em, heard 8 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 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 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 opening Em lays a solid floor for everything that follows. Em, D, Am, Cmaj7 carry the song: vi–V–ii–IVmaj7 relative to G, i–VII–iv–VImaj7 relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. 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 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.
Yavuz Bingöl - Yar Yine Küsmüş 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Yasin Yıldız
Music: Yasin Yıldız
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.