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)
Berkay Altunyay - Hatam Çok - Chord
Key G major – E minor Chords Em, Am, B7 Easy key C (capo 7)
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Key: G | Em
Capo: 0
Am Em
Sorsalar tabii hatam çok anladım
B7 Em
Her an kafamdaki sen olmasan da
Am Em
Gecem aymaz aymaz ama yalnız anlar o
B7 Em
Kader bi cambaz ama sen kaçak
Am Em
Bi bana mı garezine yandığım
B7 Em
İnadına sana çıkıyor bütün yolları
Am Em
Şehrimin her yanı yanmalı
B7 Em
Ya da bütün gece benimle kalmalısın
Am Em
Deli ediyor beni kendine çekiyor
B7 Em
Biliyor işi biliyor yine de geri dönemem
Am Em
Deli deli geliyo yine canımı yakıyor
B7 Em
Biliyor bunu biliyor ama hiç freni de yok
Am Em
Sorsalar tabii hatam çok anladım
B7 Em
Her an kafamdaki sen olmasan da
Am Em
Gecem aymaz aymaz ama yalnız anlar o
B7 Em
Kader bi cambaz ama sen kaçak
Am Em
Nasıl derim git bitsin en derininden
B7
Ben seninle bilinmez yolda
Em
Korku ne bilmem
Am Em
Nasıl derim git bitsin en derininden
B7
Biz seninle bilinmez
Em
Bıktım resimlerinden
Am Em
Sorsalar tabii hatam çok anladım
B7 Em
Her an kafamdaki sen olmasan da
Am Em
Gecem aymaz aymaz ama yalnız anlar o
B7 Em
Kader bi cambaz ama sen kaçak
End of song Play again?
Berkay Altunyay - Hatam Çok Tabs
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Harmony analysis
Berkay Altunyay – Hatam Çok: key and chord analysis
The song opens on Am 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)
- #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 E minor side because it comes to rest on Em, Em is heard 24 times while G never appears and the major V chord points straight at Em. 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 | 12× |
| 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 | 12× |
| IV | C | Subdominant — moves away from home | C · E · G | — |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| vi | Em | Relative minor — the melancholy side | E · G · B | 24× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 24× |
| 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 | 12× |
| 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 | 12× |
| VI | C | Submediant — warm colour | C · E · G | — |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | — |
Analysis
The key pair is G major and its relative E minor (1 sharp). 3 different chords appear 48 times in total; 2 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.
Chord movement
- B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×12
- Am Em Gii → vi Emiv → iminor plagal ×12
The move to watch is B7 → Em, heard 12 times. From the Em side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the G side it reads V7/vi → vi (secondary resolution: B7 resolves a fourth up to 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over B7, land on B, D#, F# — 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.
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 Am lays a solid floor for everything that follows. The chords that keep coming back are Em, Am, B7; read them as vi–ii–V7/vi in G or i–iv–V7 in 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 B7 → Em (V7/vi → vi in G, V7 → i in Em): harmonic-minor cadence — the major V resolves dramatically. 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.
Berkay Altunyay - Hatam Çok 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: Berkay AltunyayMusic: Berkay AltunyayArrangement: Berkay Altunyay
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