MFÖ - Diday Diday Day - Chord

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

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Capo 0

Em  D  G  D
Am  G  Em  D

G  D  G  D
 
G         D       G     D
Aşka sabır yeterli olmuyor
G       D        G      D
Bu sevda başımdan gitmiyor
G      D         G         D
Eşimden dostumdan kaçar oldum
G       D      G            D
Sevdalandım ben sana aşık oldum

Em  Bm  Em           Bm
Ooooooo  diday diday day
Em Bm   Em           D
Ooooooo  diday diday day

G           D  G      D
Çalış çabala    bitmiyor
G        D          G      D
Günler sensiz olunca geçmiyor
G      D         G         D
Eşimden dostumdan kaçar oldum
G       D           G        D
Sevdalandım ben sana aşık oldum

Em  Bm  Em           Bm
Ooooooo  diday diday day
Em Bm   Em           D
Ooooooo  diday diday day

G  D  G  D
x2

G           A
Hep yanımda olki sen
F#7      Bm
Sevgimiz kolay olsun
G          A
Olay olsun aşkımız
F#7        Bm
İlk inanan sen ol bana
A  G  A
Aaaaaaaaa
A  G  D
Aaaaaaaaa

Em  D  G  D
Am  G  Em  D
 
Em  D  G            D
Ooooooo diday diday day
Am  G  Em           D
Ooooooo diday diday day
 
A  E  A            E
        diday diday day
A  E  A             E
        diday diday day

A          B
Olay olsun aşkımız
G#         C#m
İlk inanan sen ol bana
B  A  B
Aaaaaaaa
B  A  E
Aaaaaaaa

F#m  E  A            E
Ooooooo  diday diday day
Bm  A   F#m          E
Ooooooo  diday diday day

A         E       A     E 
Aşka sabır yeterli olmuyor
A       E        A      E
Bu sevda başımdan gitmiyor
A      E         A        E
Eşimden dostumdan kaçar oldum
A  E  A           E
Ooooo  day di day day

End of song Play again?

MFÖ - Diday Diday Day Tabs

NotesX

Harmony analysis

MFÖ – Diday Diday Day: key and chord analysis

The song opens on Em and ends on E. 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)
#7 = D# (harmonic-minor leading tone from the V chord)

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, G is heard 30 times against 14 for Em and the major V chord points straight at Em. 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	30×
bII	G#	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	G# · B# · D#	1×
ii	Am	Supertonic — prepares the dominant	A · C · E	3×
V/V	A	Secondary dominant V/V — leads to Dsecondary dominant	A · C# · E	22×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	9×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	4×
IV	C	Subdominant — moves away from home	C · E · G	—
#iv	C#m	Chromatic colour chordoutside the key	C# · E · G#	1×
V	D	Dominant — strongest pull home	D · F# · A	32×
vi	Em	Relative minor — the melancholy side	E · G · B	14×
V/ii	E	Secondary dominant V/ii — leads to Amsecondary dominant	E · G# · B	16×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—
V7/iii	F#7	Secondary dominant V/iii — leads to Bmsecondary dominant	F# · A# · C# · E	2×
vii	F#m	Chromatic colour chordoutside the key	F# · A · C#	2×

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	14×
V/iv	E	Secondary dominant V/iv — leads to Amsecondary dominant	E · G# · B	16×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
V7/v	F#7	Secondary dominant V/v — leads to Bmsecondary dominant	F# · A# · C# · E	2×
ii	F#m	Chromatic colour chordoutside the key	F# · A · C#	2×
III	G	Relative major — the bright side	G · B · D	30×
#III	G#	Chromatic colour chordoutside the key	G# · B# · D#	1×
iv	Am	Subdominant — moves away from home	A · C · E	3×
IV	A	Major IV — Dorian / melodic-minor colourmodal colour	A · C# · E	22×
v	Bm	Minor dominant — soft pull	B · D · F#	9×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	4×
VI	C	Submediant — warm colour	C · E · G	—
#vi	C#m	Chromatic colour chordoutside the key	C# · E · G#	1×
VII	D	Subtonic — steps back to the tonic	D · F# · A	32×

Analysis

The key pair is G major and its relative E minor (1 sharp). 12 different chords appear 136 times in total; 5 of them sit naturally inside the shared scale. The major V of Em brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from G, the same B is V/vi, a secondary dominant heading for Em. A, E, F#7 act as secondary dominants, briefly pointing at another chord of the key. G# is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

D G GV → Iauthentic cadence EmVII → III ×24
Bm Em Giii → vi Emv → inatural-minor cadence ×6
D Em GV → videceptive cadence EmVII → iAeolian arrival ×4
F#7 Bm GV7/iii → iiisecondary resolution EmV7/v → v ×2

The move to watch is D → G, heard 24 times. From the Em side it is VII → III; from the G side it reads V → I (authentic cadence: the strongest arrival home). 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 D, land on D, F#, A — the chord's own tones always sound right on strong beats.
Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
When B comes, swap the scale's D for D#: that single note is the harmonic-minor sound of the chord.
On G#, follow the chord's notes (G# · B# · D#) rather than the key's scale — it's a borrowed colour.

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 first chord is Em; the ear learns where home is within a second. The backbone is D, G, A, E — V–I–V/V–V/ii from the G side, VII–III–IV–V/iv from the Em side. E is the interesting twist: in G it is a chromatic chord (V/ii), while in Em it becomes the dominant (V/iv) that makes the minor side sound so determined. Keep an ear on D → G (V → I in G, VII → III in Em): authentic cadence — the strongest arrival home. The final chord is E; 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.