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)
Atakan Çelik - Susma - Chord
Key G major – E minor Chords Bm7, Am7, Cmaj7, D, C, Em7 Easy key C (capo 7)
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Key: G | Em
Capo: 0
Bm7 Cmaj7 Am7 Bm7
Bm7 Cmaj7
Anladım gidiyorsun daha öncekiler gibi
Am7 Bm7
Hiç olmazsa son bir defa öp
Cmaj7
Bu kadar zor mu seni sevdim bir zamanlar demek
D Am7 Bm7
Öyle zor ki yeniden sevmek
Bm7
Yalnızlık eski bir ezber
Cmaj7
Ayrılık alışkanlık
Am7 Bm7
Sensizlik bana dost bana eş
Cmaj7
Bu kadar mağrur olma inan sen olmasan bile
D Am7 Bm7
Hayat devam eder doğar güneş
Bm7 Cmaj7
Susma veda ederken
Am7 Bm7 Am7 C
Biraz gül bir şey söyle gider ken
Bm7 Cmaj7
Gitme hemen gitme
Am7 Em7
Kal, biraz dur daha erken
Bm7 Cmaj7
Susma veda ederken
Am7 Bm7 Am7 C
Biraz gül bir şey söyle gider ken
Bm7 Cmaj7
Gitme hemen gitme
Am7 Bm7
Kal, biraz dur daha erken
End of song Play again?
Atakan Çelik - Susma Tabs
NotesX
Harmony analysis
Atakan Çelik – Susma: key and chord analysis
The song opens on Bm7 and ends on Bm7. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the E minor side because Em is heard 1 times while G never appears. 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 | — |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 11× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 15× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IVmaj7 | Cmaj7 | Subdominant — moves away from home | C · E · G · B | 9× |
| IV | C | Subdominant — moves away from home | C · E · G | 2× |
| V | D | Dominant — strongest pull home | D · F# · A | 2× |
| vi7 | Em7 | Relative minor — the melancholy side | E · G · B · D | 1× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Em7 | Tonic — home | E · G · B · D | 1× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 11× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 15× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VImaj7 | Cmaj7 | Submediant — warm colour | C · E · G · B | 9× |
| VI | C | Submediant — warm colour | C · E · G | 2× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 2× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 40 times in total; 6 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Cmaj7 D GIVmaj7 → VIV → V EmVImaj7 → VIIVI → VII ×2
- Am7 Em7 Gii7 → vi7 Emiv7 → i7minor plagal ×1
The move to watch is Cmaj7 → D, heard 2 times. From the Em side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic); from the G side it reads IVmaj7 → V (IV → V: the lift that builds tension before 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 Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over Am7, land on A, C, E — 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.
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 Bm7; the ear learns where home is within a second. The backbone is Bm7, Am7, Cmaj7, D — iii7–ii7–IVmaj7–V from the G side, v7–iv7–VImaj7–VII from the Em side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cmaj7 → D (IVmaj7 → V in G, VImaj7 → VII in Em): VI → VII — the rising step that heads for the tonic. It closes on Bm7, letting the G 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.
Atakan Çelik - Susma 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: Sezen AksuMusic: Christos NikolopoulosArrangement: Cem Şahin
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