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)
Emre Nalbantoğlu - Yapma Be Hayat - Chord
Key G major – E minor Chords Em7, Bm7, Am7, Cmaj7 Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em7 Bm7 Am7 Cmaj7
Em7 Bm7
Gözümün önünde eriyordu sanki
Am7 Cmaj7
İlk günkü hali, var aklımda
Em7 Bm7
Kendi kendine sövüyordu sanki
Am7 Cmaj7
Anlatmaz ki hep yek aslında
Em7 Bm7
Ordular ileri harbe gidiyoruz haydi
Am7 Cmaj7
Deli günleri var at sırtında
Em7 Bm7
Geceye yine şarap dökülüyor sanki
Am7 Cmaj7
İyi günleri var hep hatırımda
Am7 Em7
Yalan geliyor bana
Bm7 Cmaj7
Ölüm ayrılık falan
Am7 Em7
Önce bir hediye veriyor sana
Bm7 Cmaj7
Ya verme ya hesap sorma be hayat
Am7 Em7
Yalan geliyor ulan
Bm7 Cmaj7
Ölüm ayrılık falan
Am7 Em7
Önce bir hediye veriyor sana
Bm7 Cmaj7
Ya verme ya hesap sorma be hayat
End of song Play again?
Emre Nalbantoğlu - Yapma Be Hayat Tabs
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Harmony analysis
Emre Nalbantoğlu – Yapma Be Hayat: key and chord analysis
The song opens on Em7 and ends on Cmaj7. 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 it opens on Em and Em is heard 9 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 | 9× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 9× |
| 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× |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| vi7 | Em7 | Relative minor — the melancholy side | E · G · B · D | 9× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Em7 | Tonic — home | E · G · B · D | 9× |
| 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 | 9× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 9× |
| 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× |
| 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 36 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
- Am7 Em7 Gii7 → vi7 Emiv7 → i7minor plagal ×4
- Cmaj7 Em7 GIVmaj7 → vi7 EmVImaj7 → i7VI → i ×4
The move to watch is Am7 → Em7, heard 4 times. From the Em side it is iv7 → i7 (minor plagal: deep and melancholic); from the G side it reads ii7 → vi7. 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 Em7, land on E, G, B — 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
The first chord is Em7; the ear learns where home is within a second. Em7, Bm7, Am7, Cmaj7 carry the song: vi7–iii7–ii7–IVmaj7 relative to G, i7–v7–iv7–VImaj7 relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am7 → Em7 (ii7 → vi7 in G, iv7 → i7 in Em): minor plagal — deep and melancholic. The final chord is Cmaj7; 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.
Emre Nalbantoğlu - Yapma Be Hayat 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: Emre NalbantoğluMusic: Emre Nalbantoğlu
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