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)
Grup Gündoğarken - Hadi Git - Chord
Key G major – E minor Chords B7, Em, Cmaj7, D, Am Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em D Cmaj7 B7
Em D Cmaj7 B7
İçineki çocuğu tanıştır önce benimle
Em D Cmaj7 B7
Sonra gel oturupda dertleşelim seninle
Am Em
İnanıpta boşuna bu gidişlere
B7 Cmaj7 B7
Kendini usulca terk etme
Em D Cmaj7
Hadi git arka sokaklarımı bana bırak
Am B7
Renkli caddeler senin olsun bu akşam
Em D Cmaj7
Hadi git tozlu plaklarımı bana bırak
Am B7
Yine yeni bir şey anlatma ne olur
Em D Cmaj7 B7
Hadi git
Em D Cmaj7 B7
Hiç yoktan yaraladın hem beni hem kendini
Em D Cmaj7 B7
Bir anda silmek kolay mı bütün geçmişi
Am Em
Birazcık sakin ol dinle beni
B7 Cmaj7 B7
İyi düşün bu sözlerimi
Em D Cmaj7
Hadi git arka sokaklarımı bana bırak
Am B7
Renkli caddeler senin olsun bu akşam
Em D Cmaj7
Hadi git tozlu plaklarımı bana bırak
Am B7
Yine yeni bir şey anlatma ne olur
Em D Cmaj7 B7
Hadi git
End of song Play again?
Grup Gündoğarken - Hadi Git Tabs
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Harmony analysis
Grup Gündoğarken – Hadi Git: key and chord analysis
The song opens on Em and ends on B7. 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 opens on Em, Em is heard 13 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 | 6× |
| 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 | 15× |
| IVmaj7 | Cmaj7 | Subdominant — moves away from home | C · E · G · B | 13× |
| V | D | Dominant — strongest pull home | D · F# · A | 11× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 13× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 13× |
| 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 | 6× |
| 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 | 15× |
| VImaj7 | Cmaj7 | Submediant — warm colour | C · E · G · B | 13× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 11× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 58 times in total; 4 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 ×10
- Am B7 Gii → V7/vi Emiv → V7iv → V ×4
- Am Em Gii → vi Emiv → iminor plagal ×2
The move to watch is B7 → Em, heard 10 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 B7, land on B, D#, F# — 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 Cmaj7, land on C, E, G — 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 first chord is Em; the ear learns where home is within a second. The backbone is B7, Em, Cmaj7, D — V7/vi–vi–IVmaj7–V from the G side, V7–i–VImaj7–VII from the Em side. 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. The final chord is B7; 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.
Grup Gündoğarken - Hadi Git 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: Burhan ŞeşenMusic: Burhan Şeşen
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