Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
Ceren Sagu - Günah - Chord
Key C major – A minor Chords Em7, Bm7, D, Cmaj7, Am7 Easy key F (capo 7)
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Key: C | Am
Capo: 0
Em7
Dur daha söyleyeceklerim var
Bm7
Gidemezsin hiçbir yere
D
Zaman durur yerde gurur
Cmaj7 Em7
Nerede verilen sözler
Em7
Dur daha söyleyeceklerim var
Bm7
Gidemezsin hiçbir yere
D
Zaman durur yerde gurur
Cmaj7 Em7
Nerede verilen sözler
Em7
Günahsa günah, yanmışız zaten
Bm7
Aşktan yana
Am7
Tövbeler faydasız, ağlamak faydasız
Bm7
Aşktan yana
Em7
Günahsa günah, yanmışız zaten
Bm7
Aşktan yana
Am7
Tövbeler faydasız, ağlamak faydasız
Bm7
Aşktan yana
End of song Play again?
Ceren Sagu - Günah Tabs
NotesX
Harmony analysis
Ceren Sagu – Günah: key and chord analysis
The song opens on Em7 and ends on Bm7. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between C major and A minor. Try reading the chords both ways and see which feels more like home to you.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to C or to Am; 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 | Cmaj7 | Tonic — home | C · E · G · B | 2× |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | — |
| II | D | Chromatic colour chordoutside the key | D · F# · A | 2× |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 6× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | — |
| V | G | Dominant — strongest pull home | G · B · D | — |
| vi7 | Am7 | Relative minor — the melancholy side | A · C · E · G | 2× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| vii7 | Bm7 | Chromatic colour chordoutside the key | B · D · F# · A | 6× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Am7 | Tonic — home | A · C · E · G | 2× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| ii7 | Bm7 | Chromatic colour chordoutside the key | B · D · F# · A | 6× |
| IIImaj7 | Cmaj7 | Relative major — the bright side | C · E · G · B | 2× |
| iv | Dm | Subdominant — moves away from home | D · F · A | — |
| IV | D | Major IV — Dorian / melodic-minor colourmodal colour | D · F# · A | 2× |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 6× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | — |
| VII | G | Subtonic — steps back to the tonic | G · B · D | — |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 18 times in total; 3 of them sit naturally inside the shared scale. Bm7, D step outside the scale as colour chords.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
Improvisation tips
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A 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 D, land on D, F#, A — 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 C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm 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, D, Cmaj7 carry the song: iii7–vii7–II–Imaj7 relative to C, v7–ii7–IV–IIImaj7 relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. It closes on Bm7, letting the C 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.
Ceren Sagu - Günah 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: Özay GünayMusic: Özay GünayArrangement: Cem Coşkun
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