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)
Sura İskenderli - Farkındaydın Lil Orxan - Chord
Key G major – E minor Chords Bm, C, Am, Em Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em Bm C Bm C Bm Am Bm
C Bm
Farkındaydın, aklımdaydın
Am Bm C
Beni hiçe saydın bu aşkta
C Bm Am
Tüm iç çekişlerimin, dertle savaşlarımın
Bm C
Tatlı telaşlarımın, farkındaydıın
Bm Am
Sana gelişlerimin, yorgun gülüşlerimin
Bm C
Ölüp dirilişlerimin, farkındaydıın
C Bm
Farkındaydın, aklımdaydın
Am Bm C
Beni hiçe saydın bu aşkta
C Bm Am
Aklım vermiyor müsade, kalbin anlamaz ne halde
Bm C
Sana vermem mi gerek, aşkımı iade?
Bm
Farkındayım her şey aynı
Am
Zaman geçer senden ayrı
Bm
Umutlarım tükenirken yanımdaydın
C Bm
Farkındaydın, aklımdaydın
Am Bm
Beni hiçe saydım
C Bm Am
Aşkla bakışlarımın, yanlız düşüşlerimin
Bm C
Yolun yokuşlarının, farkındaydıın
Bm Am
Kalpten çöküşlerimin, darbe alışlarımın
Bm C
Tüm bu savaşlarımın, farkındaydıın
C Bm
Farkındaydım aklındaydım
Am Bm C
Seni hiçe saydım bu aşktaa
Bm
Farkındaydın aklımdaydın
Am Bm
Beni hiçe saydın
End of song Play again?
Sura İskenderli - Farkındaydın Lil Orxan Tabs
NotesX
Harmony analysis
Sura İskenderli – Farkındaydın Lil Orxan: 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.
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 1 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 12× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 26× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 17× |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| vi | Em | Relative minor — the melancholy side | E · G · B | 1× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 1× |
| 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 | 12× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 26× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 17× |
| 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 56 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
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
- 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 Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over C, land on C, E, G — 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.
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 first chord is Em; the ear learns where home is within a second. The chords that keep coming back are Bm, C, Am, Em; read them as iii–IV–ii–vi in G or v–VI–iv–i in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. The final chord is Bm; 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.
Sura İskenderli - Farkındaydın Lil Orxan 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: Sura İskəndərli, Lil OrxanMusic: Sura İskenderliArrangement: Uğur Tekcan
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