Hande Mehan - Gurur - Chord

Key G major – E minor Chords Bm7, Cmaj7, Am7, E7, Em7, B7 Easy key C (capo 7)

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Capo 0

Cmaj7  Cmaj7  Bm7  Bm7  Am7  Am7  Bm7  Bm7
Cmaj7  Cmaj7  Bm7  E7   Am7  Am7  Bm7  Bm7

Bm7                  Am7
Döneceksen defalarca aynı şey, aynı yer
              Cmaj7            Bm7
Olamaz bu, bitsin artık bir yerde durmalı
                       Am7
Değer misin üzülmeye aklım hiç almadı
              Cmaj7         Bm7
Kabul demek zorundayım şansımız kalmadı

  Em7
Kıyamet kopsa bile
     Cmaj7
Gelme git güle güle
      Am7             Bm7
Ben böyle uzun süre yaşayamam

  Cmaj7
Durur durur beni bulur
  Bm7
O sözler hep unutulur
  Am7                  Bm7   B7
Artık bize biraz gurur lazım

  Cmaj7
Durur durur beni bulur
Bm7        E7
Ayrılıklar unutulur
  Am7                  Bm7
Artık bize başka hayat lazım

Cmaj7  Cmaj7  Bm7  Bm7  Am7  Am7  Bm7  Bm7
Cmaj7  Cmaj7  Bm7  E7   Am7  Am7  Bm7  Bm7

End of song Play again?

Hande Mehan - Gurur Tabs

NotesX

Harmony analysis

Hande Mehan – Gurur: key and chord analysis

The song opens on Cmaj7 and ends on Bm7. 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 Em is heard 1 times while G never appears 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	—
ii7	Am7	Supertonic — prepares the dominant	A · C · E · G	13×
iii7	Bm7	Mediant — a tonic-family shade	B · D · F# · A	22×
V7/vi	B7	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F# · A	1×
IVmaj7	Cmaj7	Subdominant — moves away from home	C · E · G · B	13×
V	D	Dominant — strongest pull home	D · F# · A	—
vi7	Em7	Relative minor — the melancholy side	E · G · B · D	1×
V7/ii	E7	Secondary dominant V/ii — leads to Amsecondary dominant	E · G# · B · D	3×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i7	Em7	Tonic — home	E · G · B · D	1×
V7/iv	E7	Secondary dominant V/iv — leads to Amsecondary dominant	E · G# · B · D	3×
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	13×
v7	Bm7	Minor dominant — soft pull	B · D · F# · A	22×
V7	B7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F# · A	1×
VImaj7	Cmaj7	Submediant — warm colour	C · E · G · B	13×
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). 6 different chords appear 53 times in total; 4 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 B7 is V7/vi, a secondary dominant heading for Em. E7 acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

E7 Am7 GV7/ii → ii7secondary resolution EmV7/iv → iv7 ×3
Bm7 Em7 Giii7 → vi7 Emv7 → i7natural-minor cadence ×1

The move to watch is E7 → Am7, heard 3 times. From the Em side it is V7/iv → iv7; from the G side it reads V7/ii → ii7 (secondary resolution: E7 resolves a fourth up to Am7). 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 Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
Over Cmaj7, land on C, E, G — 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.
When B7 comes, swap the scale's D for D#: that single note is the harmonic-minor sound of the chord.

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 opening Cmaj7 lays a solid floor for everything that follows. Bm7, Cmaj7, Am7, E7 carry the song: iii7–IVmaj7–ii7–V7/ii relative to G, v7–VImaj7–iv7–V7/iv relative to Em. E7 is the interesting twist: in G it is a chromatic chord (V7/ii), while in Em it becomes the dominant (V7/iv) that makes the minor side sound so determined. Keep an ear on E7 → Am7 (V7/ii → ii7 in G, V7/iv → iv7 in Em): secondary resolution — E7 resolves a fourth up to Am7. Ending on Bm7, 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.