Simge - Önümüz Yaz - Chord

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

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Capo 0

Em  Em  Am  Bm  Em  Em  Am  Bm
Em  Em  Am  Bm  C  Am  Bm

Em                 Am       Bm   Em
Dökülür bedenim önüne bi' köle diye
                   Am      Bm      Em
Değişir içimin sıcağı, süreriz güneye
                    Am       Bm      Em
Yanacak, yansın yüreğim, döneriz deliye
                    Am        Bm   Em
Ne zaman o zaman yavrum şimdi değilse?

Em             Am    Bm
Çekemeseler de, sevemeseler de
Em              Am       Bm
Benim içim temiz, kalbim haylaz
Em             Am    Bm
Çekemeseler de, sevemeseler de
Em              Am          Bm
Bеnim içim temiz, benim kalbim saf

Em                    Am        Bm
Düşür beni önünе, ben olmuşum sarhoş
Em                    Am         Bm 
Güz çiçeği dövmemi de soldurur güneş
Em                    Am          Bm
Çek beni de yatağına, senciyim çoktan
C            Am          Bm
Zamanımız az, bak önümüz yaz

Em                    Am        Bm
Düşür beni önünе, ben olmuşum sarhoş
Em                    Am         Bm 
Güz çiçeği dövmemi de soldurur güneş
Em                    Am          Bm
Çek beni de yatağına, senciyim çoktan
C            Am          Bm
Zamanımız az, bak önümüz yaz

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Harmony analysis

Simge – Önümüz Yaz: key and chord analysis

The song opens on Em and ends on Bm. 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 opens on Em and Em is heard 21 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	20×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	20×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	3×
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	21×
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	21×
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	20×
v	Bm	Minor dominant — soft pull	B · D · F#	20×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	3×
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 64 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 ×16

The move to watch is Bm → Em, heard 16 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 Am, land on A, C, E — 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

The song's harmonic story

Starting on Em, the song gives away its key from the very first bar. The chords that keep coming back are Em, Am, Bm, C; read them as vi–ii–iii–IV in G or i–iv–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. Ending on Bm, 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.