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)
Seyfi Yerlikaya - Turnam Gidersen Mardine - Chord
Key G major – E minor Chords Am, G, D, Em, B7 Easy key C (capo 7)
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Key: G | Em
Capo: 0
Am G Am Am G Am G D G D Em
Em
Turnam gidersen Mardin'e
Am G
Turnam yare, selam söyle
Am G Am
Karlı dağların ardından
G D G D Em Am
Turnam ya re selam söy le
Am G Am
Karlı dağların ardından
G D G D Em
Turnam ya re selam söyle
Am G Am Am G Am G D G D Em
Em D
Turnam gidersen Aktaş'a
Am Em
Karlı dağlar aşa aşa
Am D
Turnam gidersen Aktaş'a
Am Em B7
Karlı dağlar aşa a şa
Em
Hem yarime, hem yoldaşa
Am G
Turnam yare selam söyle
Am G Am
Hem garibe, hem yolda şa
G D G D Em Am
Turnam ya re selam söy le
Am G Am
Hem yarime, hem yolda şa
G D G D Em
Turnam ya re selam söyle
End of song Play again?
Seyfi Yerlikaya - Turnam Gidersen Mardine Tabs
intro
E--------------|-------------|-------------------------------|
B--------------|-------------|-------------------------------|
G----4-2-----2-|-2-5-4-----2-|---2-----------2-----------4-2-|
D--2-----5-4---|-------5-4---|-5---5-4-4-2-5---4-5-4-2-2-----|
A--------------|-------------|-------------------------------|
E--------------|-------------|-------------------------------|
E--------------|-------------|---------------------------|
B--------------|-------------|---------------------------|
G----4-2-----2-|-2-5-4-----2-|---2-----------2-----------|
D--------5-4---|-------5-4---|-5---5-4-4-2-5---4-5-4-2-2-|
A--------------|-------------|---------------------------|
E--------------|-------------|---------------------------|
NotesX
Harmony analysis
Seyfi Yerlikaya – Turnam Gidersen Mardine: 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, G is heard 22 times against 11 for Em 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 | 22× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 23× |
| 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 | 1× |
| IV | C | Subdominant — moves away from home | C · E · G | — |
| V | D | Dominant — strongest pull home | D · F# · A | 14× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 11× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 11× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 22× |
| iv | Am | Subdominant — moves away from home | A · C · E | 23× |
| 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 | 1× |
| VI | C | Submediant — warm colour | C · E · G | — |
| 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). 5 different chords appear 71 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
- D G GV → Iauthentic cadence EmVII → III ×6
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×6
- Am Em Gii → vi Emiv → iminor plagal ×2
- B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×1
- Am D Gii → Vii → V Emiv → VII ×1
The move to watch is D → G, heard 6 times. From the Em side it is VII → III; from the G side it reads V → I (authentic cadence: the strongest arrival home). 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 Am, land on A, C, E — 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.
- Over D, land on D, F#, A — 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 Am; the ear learns where home is within a second. The chords that keep coming back are Am, G, D, Em; read them as ii–I–V–vi in G or iv–III–VII–i 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 D → G (V → I in G, VII → III in Em): authentic cadence — the strongest arrival home. 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.
Seyfi Yerlikaya - Turnam Gidersen Mardine 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: AnonimMusic: Anonim
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