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)
Yol Boyunca - Aşk Değil Ki Bu - Chord
Key G major – E minor Chords D, Am7, G, C, Bm7, Bm Easy key C (capo 7)
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Key: G | Em
Capo: 0
G D
Aşk değil ki bu
C
Bir anlatsam onu
Bm7 Am7
Sana tekrar sormaya korkar oldum
G D D C C Bm7 Am7
Bıraktım kendimi ıssız sokaklara
Belki ait değilim bu zamanlara
Göremez oldum ne bu günü ne yarını
Am7 Bm7
Ne yapsam da kurtulamadığım bu takıntı
G D
Aşk değil ki bu
C
Bir anlatsam onu
Bm Am7
Sana tekrar sormaya korkar oldum
G D
Ne yapsam bilemedim bu yalanlarla
Am7 Bm7
Gözlerine bakıp yürüdüğüm zamanlarda
G D
Ben yerin altında, sen ise koca dağlarda
Am7 Bm7
Gülüp halime alaylar etmedin mi
G D
Aşk değil ki bu
C
Bir anlatsam onu
Bm Am7
Sana tekrar sormaya korkar oldum
End of song Play again?
Yol Boyunca - Aşk Değil Ki Bu Tabs
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Harmony analysis
Yol Boyunca – Aşk Değil Ki Bu: key and chord analysis
The song opens on G and ends on Am7. 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 G major side because it opens on G and G is heard 6 times while Em never appears. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.
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 | 6× |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 7× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 5× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 2× |
| III | B | Chromatic colour chordoutside the key | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 5× |
| V | D | Dominant — strongest pull home | D · F# · A | 7× |
| vi | Em | Relative minor — the melancholy side | E · G · B | — |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | — |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 6× |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 7× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 5× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 2× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 5× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 7× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 32 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
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 D, land on D, F#, A — 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 G, land on G, B, D — 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
Starting on G, the song gives away its key from the very first bar. D, Am7, G, C carry the song: V–ii7–I–IV relative to G, VII–iv7–III–VI relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Ending on Am7, the song seals G as home.
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.
Yol Boyunca - Aşk Değil Ki Bu 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: Ötüken AvcıMusic: Ötüken AvcıArrangement: Yol Boyunca
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