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)
Key G major – E minor Chords Bm7, D, Am7, Cmaj7, Gmaj7, C, Em7 Easy key C (capo 7)
Bm7 Cmaj7 D Gmaj7 Am7 Bm7 Cmaj7 D C Bm7 Bm7 Am7 Bm7 Aşkımın ilk baharı Am7 D C Taptaze çiçeğimsin Bm7 Am7 Bm7 Sen ömrüme ömür katan Am7 D Bm7 Cansuyum, kar tanemsin Em7 Cmaj7 D Bm7 Çünkü bu aşk tertemiz, saf, gönülden Em7 Cmaj7 D Am7 Bm7 Ömür boyu sürecek bilirim, yaşarım yürekten Bm7 Cmaj7 Kartanem, nurtanem, aşkım D Gmaj7 Am7 Seni candan seviyoruuuuuum Bm7 Cmaj7 Sen cennetten bir armağan D Am7 Bm7 Seni sevmeye doyamıyorum Bm7 Cmaj7 D Gmaj7 Am7 Bm7 Cmaj7 D C Bm7 Bm7 Am7 Bm7 Am7 D C Gül yüzün gözümden gitmiyor kar tanem Bm7 Am7 Bm7 Am7 D Bm7 Sana olan şu özlemim bitmiyor birtanem Em7 Cmaj7 D Bm7 Çünkü bu aşk tertemiz, saf, gönülden Em7 Cmaj7 D Am7 Bm7 Ömür boyu sürecek bilirim, yaşarım yürekten Bm7 Cmaj7 Kartanem, nurtanem, aşkım D Gmaj7 Am7 Seni candan seviyoruuuuuum Bm7 Cmaj7 Sen cennetten bir armağan D Am7 Bm7 Seni sevmeye doyamıyorum Aşkımın ilk baharı, taptaze çiçeğimsin Sen ömrüme ömür katan, cansuyum, kartanemsin Çünkü bu aşk tertemiz, saf, gönülden Ömür boyu sürecek bilirim, yaşarım yürekten
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Harmony analysis
The song opens on Bm7 and ends on Bm7. Its chords belong to both G major and Em, so every chord below is read both ways.
Major view
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between G major and E minor. Try reading the chords both ways and see which feels more like home to you.
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# | 4× |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 16× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 26× |
| 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 | 12× |
| IV | C | Subdominant — moves away from home | C · E · G | 4× |
| V | D | Dominant — strongest pull home | D · F# · A | 16× |
| vi7 | Em7 | Relative minor — the melancholy side | E · G · B · D | 4× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Em7 | Tonic — home | E · G · B · D | 4× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| IIImaj7 | Gmaj7 | Relative major — the bright side | G · B · D · F# | 4× |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 16× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 26× |
| 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 | 12× |
| VI | C | Submediant — warm colour | C · E · G | 4× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 16× |
The key pair is G major and its relative E minor (1 sharp). 7 different chords appear 82 times in total; 7 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
The move to watch is Cmaj7 → D, heard 12 times. From the G side it reads IVmaj7 → V (IV → V: the lift that builds tension before home); from the Em side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Empty slices are chords the song doesn't use.
Starting on Bm7, the song gives away its key from the very first bar. The chords that keep coming back are Bm7, D, Am7, Cmaj7; read them as iii7–V–ii7–IVmaj7 in G or v7–VII–iv7–VImaj7 in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cmaj7 → D (IVmaj7 → V in G, VImaj7 → VII in Em): IV → V — the lift that builds tension before home. 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.
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.
Ready-made lists by difficulty and mood.
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