Oğuzhan Uzun - Sığmaz - Chord

Key G major – E minor Chords Cmaj7, Bm7, Am7, Gmaj7 Easy key C (capo 7)

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Capo 0

Cmaj7          Bm7            Am7
 Düşüyor gönlümden birer birer ah
              Gmaj7
 Düşüyor insanlar  
Cmaj7          Bm7        Am7            Gmaj7
 Tutacak tek dalım vardı ama onu da kırdılar

Cmaj7         Bm7         Am7
 Açılır bin yara aman aman ah
               Gmaj7
 Kapanır bir yara
Cmaj7         Bm7           Am7
 Koşuyor bu zaman yanan yanana
              Gmaj7
 Nereye böyle ya

Cmaj7      Bm7              Am7
 Daldım daldım hayat kavgasına
                  Gmaj7
 Kayboldum yokcasına
Cmaj7      Bm7              Am7
 Vardım vardım dibin en başına
              Gmaj7
 Umudum nerde ya

Cmaj7       Bm7              Am7
 Kaçtım kaçtım sığmaz bu yaşıma
                 Gmaj7
 Bu kadar acı fazla
Cmaj7       Bm7               Am7
 Döndüm döndüm sanki dert taşına
              Gmaj7
 Bu kadarı fazla yar

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Oğuzhan Uzun - Sığmaz Tabs

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Harmony analysis

Oğuzhan Uzun – Sığmaz: key and chord analysis

The song opens on Cmaj7 and ends on Gmaj7. 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the G major side because it comes to rest on G and G is heard 8 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.

Seen from G major
Degree	Chord	Role	Notes	In song
Imaj7	Gmaj7	Tonic — home	G · B · D · F#	8×
ii7	Am7	Supertonic — prepares the dominant	A · C · E · G	8×
iii7	Bm7	Mediant — a tonic-family shade	B · D · F# · A	8×
III	B	Chromatic colour chordoutside the key	B · D# · F#	—
IVmaj7	Cmaj7	Subdominant — moves away from home	C · E · G · B	8×
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	—
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	—
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
IIImaj7	Gmaj7	Relative major — the bright side	G · B · D · F#	8×
iv7	Am7	Subdominant — moves away from home	A · C · E · G	8×
v7	Bm7	Minor dominant — soft pull	B · D · F# · A	8×
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	8×
VII	D	Subtonic — steps back to the tonic	D · F# · A	—

Analysis

The key pair is G major and its relative E minor (1 sharp). 4 different chords appear 32 times in total; 4 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 Cmaj7, land on C, E, G — the chord's own tones always sound right on strong beats.
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.

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 Cmaj7, the song gives away its key from the very first bar. Cmaj7, Bm7, Am7, Gmaj7 carry the song: IVmaj7–iii7–ii7–Imaj7 relative to G, VImaj7–v7–iv7–IIImaj7 relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. The final chord is Gmaj7; 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.