Amo988 - Yandım Gönlüm - Chord

Key G major – E minor Chords Em, D, Bm, C Easy key C (capo 7)

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Capo 0

Em
Yandım gönlüm yakma beni bir daha
D
Daldım göçtüm yanlış bir diyara
Bm
Kalbimi değerini bilmeyen insana
C       Em
Verdim ben

Em
Saldım ruhumu ben büyük bi yalana
D
Sevgiyi nefretten ayırmayana
Bm
Tüm doğruları yanlış olana
C       Em
Kandım ben

Em
Sevmek Bedel ödemek demektir ölmekten beter
D
Sevilmekte bana ulaşması imkansız olan hedef
Bm                                        Em
Canımı altın tabakla versem oda yeterli değil değil

Em
Döktüm tonlarca gözyaşı kurudum ben
D
Pişman oldum o harcanan yıllara ömrümden
Bm
Ne hayaller kurardım ben seni öperken
    Em
Ama sen anlamsız bi anı yaşadın tek

Em
Sensin ecelim, teşekkür ederim
         D
Dünyadan kaçtı hevesim

Oldu cansız bedenim
       Bm
Senden vazgeçemedim

Maalesef ebedi
       Em
Bu aşk of of

Em
Yıkıldığım o kadar belli mi
             D
Belli etti gözlerim

Aynaya baktığım da
Bm
Senden zaten hiç bir şey gelmedi
            Em
Düşüneyim kendimi bi çıksan aklımdan

Em
Vurma kalbime yeter gibi
D
Ah benim gücüm yeter mi hiç
Bm
Başkasına ver bu sevgini
Em
Sensizliğe zaten alıştım ben

End of song Play again?

Amo988 - Yandım Gönlüm Tabs

NotesX

Harmony analysis

Amo988 – Yandım Gönlüm: 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)

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 and Em is heard 14 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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	—
ii	Am	Supertonic — prepares the dominant	A · C · E	—
iii	Bm	Mediant — a tonic-family shade	B · D · F#	7×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	2×
V	D	Dominant — strongest pull home	D · F# · A	7×
vi	Em	Relative minor — the melancholy side	E · G · B	14×
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	14×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	—
iv	Am	Subdominant — moves away from home	A · C · E	—
v	Bm	Minor dominant — soft pull	B · D · F#	7×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	2×
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). 4 different chords appear 30 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

Bm Em Giii → vi Emv → inatural-minor cadence ×5
C Em GIV → vi EmVI → iVI → i ×2

The move to watch is Bm → Em, heard 5 times. From the Em side it is v → i (natural-minor cadence: gentle, modal arrival); from the G side it reads iii → 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 Bm, land on B, D, F# — 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
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

The opening Em lays a solid floor for everything that follows. The chords that keep coming back are Em, D, Bm, C; read them as vi–V–iii–IV in G or i–VII–v–VI in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm → Em (iii → vi in G, v → i in Em): natural-minor cadence — gentle, modal arrival. 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.