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)
Sufle - Lakin - Chord
Key G major – E minor Chords Cmaj7, Bm7, Gmaj7 Easy key C (capo 7)
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Key: G | Em
Capo: 0
Cmaj7 Cmaj7 Gmaj7 Gmaj7
Cmaj7
Bi baktım yoksun yanımda
Bm7 Gmaj7 Bm7
Her halin daha dün gibi aklımda
Cmaj7
Seni zalim nasıl bari
Bm7
İyi misin oralarda
Gmaj7 Bm7
Umarım bir başına
Cmaj7
Kalınca öyle yanlız
Elinde çöpsüz sapsız
Bm7 Gmaj7
Bir hüzün vurur yakar deler sol yanını
Cmaj7
Sebebini sormadın lakin
Olmadı kalamadık sakin
Bm7
Düştük bir dert tuzağına
Verem ettin kalmadı halim
Cmaj7
Sebebini sormadın lakin
Olmadı kalamadık sakin
Bm7
Düştük kıskançlık ağına
Gmaj7 Bm7 Cmaj7
Yoruldum kalmadı halim
Cmaj7 Cmaj7 Bm7 Gmaj7 Bm7
End of song Play again?
Sufle - Lakin Tabs
NotesX
Harmony analysis
Sufle – Lakin: key and chord analysis
The song opens on Cmaj7 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 G major side because G is heard 7 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 |
|---|---|---|---|---|
| Imaj7 | Gmaj7 | Tonic — home | G · B · D · F# | 7× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | — |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 10× |
| III | B | Chromatic colour chordoutside the key | B · D# · F# | — |
| IVmaj7 | Cmaj7 | Subdominant — moves away from home | C · E · G · B | 10× |
| 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 | — |
| 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# | 7× |
| iv | Am | Subdominant — moves away from home | A · C · E | — |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 10× |
| 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 | 10× |
| 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). 3 different chords appear 27 times in total; 3 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 Gmaj7 GIVmaj7 → Imaj7plagal cadence EmVImaj7 → IIImaj7 ×1
The move to watch is Cmaj7 → Gmaj7, heard once. From the G side it reads IVmaj7 → Imaj7 (plagal cadence: the soft 'amen' ending); from the Em side it is VImaj7 → IIImaj7. 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 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 Gmaj7, 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
The first chord is Cmaj7; the ear learns where home is within a second. The chords that keep coming back are Cmaj7, Bm7, Gmaj7; read them as IVmaj7–iii7–Imaj7 in G or VImaj7–v7–IIImaj7 in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cmaj7 → Gmaj7 (IVmaj7 → Imaj7 in G, VImaj7 → IIImaj7 in Em): plagal cadence — the soft 'amen' ending. 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.
Sufle - Lakin 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: Tarık İsterMusic: Tarık İsterArrangement: Tarık İster
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