Jan Soykök - Soluk Mavi Nokta - Chord

Key G major – E minor Chords G, D, Am, Em, C, B, Bm, Cm Easy key C (capo 7)

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Capo 0

G  Em  Am  D

G         Em         Am       D
Sizden duyduğum masallar bana pek komik geldi
G        Em           Am        D
Ancak tartışmaya girmedim çünkü buna değmezdi
G           Em             Am         D
Ne kadar da özel ve önemli sanır insanlar kendilerini
G         Em        Am           D
Halbuki soluk, mavi bir noktanın üzerinde

C        D              G
Şarkılar söyleyip dans eden
    Em          Am
Ağlayan ve de gülen
            B                Em  G
Minicik organizmalardan ibaretiz

C       D             G
Aslında içten içe hepimiz
       Em             Am
Sonsuz olmadığımızı bilir
               B               Em
Yine de bunu kabullenmek istemeyiz

C                   Bm
Nereden geldik, nereye gidiyoruz
C                 Bm
Yanıtları birer birer öğreniyoruz
      Am                           Em
Fakat uçsuz bucaksız bu balonun içinde
C                          D
"Tek" olmayı bir türlü beceremiyoruz

G  G  Am  D

G                               Am           D
Bütün o krallar kibirli hükümdarlar, avcılar toplayıcılar
G                                  Am                D
Hepsi kendinden emin çeşit çeşit o inançla, tüm kahraman ve korkaklar
G                                   Am               D
Bütün sevinçlerimiz ve bütün acılarımız, birbirine aşık her genç çift
G                            Am
Her bir aziz ve her bir günahkar
D                             Cm
İşte burada var oldu; bu zerreciğin üstünde

D
Bir yolunu bulamazsak son yakın

Anlatışlar fayda etmiyor

Bize bizi bizden kurtaracak birileri lazım

Dil daha fazlasına dönmüyor

End of song Play again?

Jan Soykök - Soluk Mavi Nokta Tabs

NotesX

Harmony analysis

Jan Soykök – Soluk Mavi Nokta: key and chord analysis

The song opens on G and ends on D. 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 G major side because it opens on G, G is heard 14 times against 10 for Em and the major V chord points straight at 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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	14×
ii	Am	Supertonic — prepares the dominant	A · C · E	13×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	2×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	2×
IV	C	Subdominant — moves away from home	C · E · G	5×
iv	Cm	Minor iv — borrowed from the parallel minorborrowed chord	C · Eb · G	1×
V	D	Dominant — strongest pull home	D · F# · A	14×
vi	Em	Relative minor — the melancholy side	E · G · B	10×
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	10×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	14×
iv	Am	Subdominant — moves away from home	A · C · E	13×
v	Bm	Minor dominant — soft pull	B · D · F#	2×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	2×
VI	C	Submediant — warm colour	C · E · G	5×
vi	Cm	Chromatic colour chordoutside the key	C · Eb · G	1×
VII	D	Subtonic — steps back to the tonic	D · F# · A	14×

Analysis

The key pair is G major and its relative E minor (1 sharp). 8 different chords appear 61 times in total; 6 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; seen from G, the same B is V/vi, a secondary dominant heading for Em. Cm is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

D G GV → Iauthentic cadence EmVII → III ×11
Am D Gii → Vii → V Emiv → VII ×10
C D GIV → VIV → V EmVI → VIIVI → VII ×3
B Em GV/vi → vi EmV → iharmonic-minor cadence ×2
Am B Gii → V/vi Emiv → Viv → V ×2
Am Em Gii → vi Emiv → iminor plagal ×1

The move to watch is D → G, heard 11 times. From the G side it reads V → I (authentic cadence: the strongest arrival home); from the Em side it is VII → III. 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 G, land on G, B, D — 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.
When B comes, swap the scale's D for D#: that single note is the harmonic-minor sound of the chord.
On Cm, follow the chord's notes (C · Eb · G) rather than the key's scale — it's a borrowed colour.

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 first chord is G; the ear learns where home is within a second. The backbone is G, D, Am, Em — I–V–ii–vi from the G side, III–VII–iv–i from the Em side. B is the interesting twist: in G it is a chromatic chord (V/vi), while in Em it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on D → G (V → I in G, VII → III in Em): authentic cadence — the strongest arrival home. The final chord is D; 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.

Jan Soykök - Soluk Mavi Nokta 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: Jan Soykök

Music: Jan Soykök

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