Grup Gündoğarken - Ah Be Hayat - Chord

Key G major – E minor Chords D, Em, G, Cm7, B7, Cmaj7, Am7 Easy key C (capo 7)

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Capo 0

G  D  Em  D  Cm7  G

  Em      D          Cmaj7        B7
Masumca dokun bana, içindeki şeytanı görme
Em           D         Am7             B7
Ben yalanlar söylerken sen, sorular sorma
  Em        D         Cmaj7      B7
Sarıl bana utanmadan, aynı güne uyanalım
  Em            D          Am7         B7
Uçsuz  bucaksız çölüm, ben gel serabım ol

G            D         Em        D
Ben günahlar işlerken, sen cennette bekle
Cm7                         G
Ah be hayat, bütün bunlar niye
            D         Em           D
Ben gülüp eğlenirken, sen kaldın resimlerde
Cm7                         G
Ah be hayat, bütün bunlar niye

G  D  Em  D  Cm7  G
 
  Em      D           Cmaj7        B7
Sabahın köründeyim, konuştum kendi kendime
Em          D         Am7          B7
Bir cevap bulamadım niye, nerelerdesin
   Em         D          Cmaj7     B7
Mevsimsiz bir takvimdir, aklımda düşünceler
Em          D             Am7           B7
Gittiğin günden beri, bir türlü çözemediğim

G            D         Em        D
Ben günahlar işlerken, sen cennette bekle
Cm7                         G
Ah be hayat, bütün bunlar niye
            D         Em           D
Ben gülüp eğlenirken, sen kaldın resimlerde
Cm7                         G
Ah be hayat, bütün bunlar niye
Cm7                         G
Ah be hayat, bütün bunlar niye
Cm7            G
Ah be hayat, niye

End of song Play again?

Grup Gündoğarken - Ah Be Hayat Tabs

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Harmony analysis

Grup Gündoğarken – Ah Be Hayat: key and chord analysis

The song opens on G and ends on G. 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: we can't honestly pick a side here — the song moves freely between G major and E minor because it both starts and finishes on G, Em is heard 14 times against 12 for G and the major V chord points straight at Em. Try reading the chords both ways and see which feels more like home to you.

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	12×
ii7	Am7	Supertonic — prepares the dominant	A · C · E · G	4×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V7/vi	B7	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F# · A	8×
IVmaj7	Cmaj7	Subdominant — moves away from home	C · E · G · B	4×
iv7	Cm7	Minor iv — borrowed from the parallel minorborrowed chord	C · Eb · G · Bb	8×
V	D	Dominant — strongest pull home	D · F# · A	20×
vi	Em	Relative minor — the melancholy side	E · G · B	14×
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	14×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	12×
iv7	Am7	Subdominant — moves away from home	A · C · E · G	4×
v	Bm	Minor dominant — soft pull	B · D · F#	—
V7	B7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F# · A	8×
VImaj7	Cmaj7	Submediant — warm colour	C · E · G · B	4×
vi7	Cm7	Chromatic colour chordoutside the key	C · Eb · G · Bb	8×
VII	D	Subtonic — steps back to the tonic	D · F# · A	20×

Analysis

The key pair is G major and its relative E minor (1 sharp). 7 different chords appear 70 times in total; 5 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 B7 is V7/vi, a secondary dominant heading for Em. Cm7 is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Cm7 G Giv7 → Iminor plagal Emvi7 → III ×8
B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×6
D Em GV → videceptive cadence EmVII → iAeolian arrival ×6
Am7 B7 Gii7 → V7/vi Emiv7 → V7iv → V ×4

The move to watch is Cm7 → G, heard 8 times. From the G side it reads iv7 → I (minor plagal: a bittersweet arrival with a borrowed iv); from the Em side it is vi7 → 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 D, land on D, F#, A — the chord's own tones always sound right on strong beats.
Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
When B7 comes, swap the scale's D for D#: that single note is the harmonic-minor sound of the chord.
On Cm7, follow the chord's notes (C · Eb · G · Bb) 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

Starting on G, the song gives away its key from the very first bar. D, Em, G, Cm7 carry the song: V–vi–I–iv7 relative to G, VII–i–III–vi7 relative to Em. B7 is the interesting twist: in G it is a chromatic chord (V7/vi), while in Em it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Cm7 → G (iv7 → I in G, vi7 → III in Em): minor plagal — a bittersweet arrival with a borrowed iv. The final chord is G; 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.