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)
Gökhan Türkmen - Deli - Chord
Key G major – E minor Chords Em7, Am7, Cmaj7, Bm7, D Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em7 Am7
Derin bir nefes çek içine
Cmaj7 Em7
Bu belki de senin en son şansın
Am7
Yarın yokmuş gibi yaşa in derine
Cmaj7 Bm7
Her şeyi bırak kalsın yerinde
Güzel..
D
Bu susmalar yasak
Am7
Sebebi çok uzak
Cmaj7
Gerçek duran yalan dolanlar
Em7
Tabi ilk günden beri
Am7
Ruhum hep serseri
Bm7
Bence yorma kendini
Em7
Soldurma rengini
Em7
Tabi ilk günden seni
Am7
Tamam ama gönderemem geri
Bm7
Esir edemem bendimi
Em7
Tanışalım mı selam ben deli
End of song Play again?
Gökhan Türkmen - Deli Tabs
NotesX
Harmony analysis
Gökhan Türkmen – Deli: key and chord analysis
The song opens on Em7 and ends on Em7. 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 6 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 | — |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 5× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 3× |
| 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 | 3× |
| V | D | Dominant — strongest pull home | D · F# · A | 1× |
| vi7 | Em7 | Relative minor — the melancholy side | E · G · B · D | 6× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Em7 | Tonic — home | E · G · B · D | 6× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 5× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 3× |
| 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 | 3× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 1× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 18 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
- Cmaj7 Em7 GIVmaj7 → vi7 EmVImaj7 → i7VI → i ×2
- Bm7 Em7 Giii7 → vi7 Emv7 → i7natural-minor cadence ×2
The move to watch is Cmaj7 → Em7, heard 2 times. From the Em side it is VImaj7 → i7 (VI → i: falls a half step into home); from the G side it reads IVmaj7 → vi7. 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 Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Cmaj7, land on C, E, G — 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
The opening Em7 lays a solid floor for everything that follows. Em7, Am7, Cmaj7, Bm7 carry the song: vi7–ii7–IVmaj7–iii7 relative to G, i7–iv7–VImaj7–v7 relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cmaj7 → Em7 (IVmaj7 → vi7 in G, VImaj7 → i7 in Em): VI → i — falls a half step into home. It closes on Em7, 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.
Gökhan Türkmen - Deli 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: Gökhan Türkmen
Mert CarimMusic: Gökhan Türkmen
Mert CarimArrangement: Genco Arı
Mert CarimMusic: Gökhan Türkmen
Mert CarimArrangement: Genco Arı
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