Erkin Koray - Bir Eylül Akşamı - Chord

Key G major – E minor Chords Em, D, C, Am, A, G, B7, Bm … Difficulty already in its easiest key

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Capo 0

Em        D      C          B7
Bir eylül akşamı sen geldin bana
Em        D      C          Em
Bir eylül akşamı aşk verdin bana

Em  D  C  Em

A    Em    A        Em
Karanlıkta gördüm seni
A       Em    A      Em
Ne olur gitme ver elini

Em     Am  Em     Am
Senin ile  beraberce
Em      D    C    Em
Çayırlarda yürüdükçe
      Am  Em    Am
Bakacağız falımıza
Em     D   C   Em
Neler olacağımıza

Em        D      C          B7
Bir eylül akşamı sen geldin bana
Em        D      C          Em
Bir eylül akşamı aşk verdin bana

Em  D  C  Em

G        Bm       Em
Dökülmüş yapraklardan
C           Cm
Bir küçük buket
G      Bm  G
Sana sunuyorum
D          G   B7
Bunu kabul et

Em     Am  Em      Am
Daha yakın olmak sana
Em     D     C    Em
Dünyaları verdi bana
        Am  Em    Am
Şimdi artık seviyorum
Em      D      C   Em
Yaşamak ne hoş diyorum

End of song Play again?

Erkin Koray - Bir Eylül Akşamı Tabs

NotesX

Harmony analysis

Erkin Koray – Bir Eylül Akşamı: key and chord analysis

The song opens on Em and ends on Em. 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 E minor side because it both starts and finishes on Em, Em is heard 29 times against 4 for G 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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	4×
ii	Am	Supertonic — prepares the dominant	A · C · E	8×
V/V	A	Secondary dominant V/V — leads to Dsecondary dominant	A · C# · E	4×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	2×
V7/vi	B7	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F# · A	3×
IV	C	Subdominant — moves away from home	C · E · G	11×
iv	Cm	Minor iv — borrowed from the parallel minorborrowed chord	C · Eb · G	1×
V	D	Dominant — strongest pull home	D · F# · A	11×
vi	Em	Relative minor — the melancholy side	E · G · B	29×
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	29×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	4×
iv	Am	Subdominant — moves away from home	A · C · E	8×
IV	A	Major IV — Dorian / melodic-minor colourmodal colour	A · C# · E	4×
v	Bm	Minor dominant — soft pull	B · D · F#	2×
V7	B7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F# · A	3×
VI	C	Submediant — warm colour	C · E · G	11×
vi	Cm	Chromatic colour chordoutside the key	C · Eb · G	1×
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). 9 different chords appear 73 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 B7 is V7/vi, a secondary dominant heading for Em. A acts as a secondary dominant, briefly pointing at another chord of the key. Cm is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Am Em Gii → vi Emiv → iminor plagal ×8
C Em GIV → vi EmVI → iVI → i ×8
B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×3
D G GV → Iauthentic cadence EmVII → III ×1
Cm G Giv → Iminor plagal Emvi → III ×1
Bm Em Giii → vi Emv → inatural-minor cadence ×1

The move to watch is Am → Em, heard 8 times. From the Em side it is iv → i (minor plagal: deep and melancholic); from the G side it reads ii → vi. 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 D, land on D, F#, A — the chord's own tones always sound right on strong beats.
Over C, 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.
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

The song is already written in its easiest key for guitar.

The song's harmonic story

Starting on Em, the song gives away its key from the very first bar. The chords that keep coming back are Em, D, C, Am; read them as vi–V–IV–ii in G or i–VII–VI–iv 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 Am → Em (ii → vi in G, iv → i in Em): minor plagal — deep and melancholic. The final chord is Em; the ear comes to rest in Em.

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.