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)
Aleyna Tilki - Hiç de Öyle Olmadı - Chord
Key G major – E minor Chords Em, G, Cmaj7 Difficulty already in its easiest key
No ratings yet
or your user informations
Make it yours
Text size
Key: G | Em
Capo: 0
Em G Cmaj7
Em G
Diyo'lar ki "Ben belalıyım"
Hadi or'dan, nasıl bi' rüyadayım?
Cmaj7
Kim çıktı ki sözünün eri biri?
Hâlâ ölmedik nasıl bi' yalancısın?
Em G
Diyo'sun ki "Ben hep seni sevdim"
Cmaj7
Hadi or'dan, nasıl bi' rüyadasın?
Em G
Sevmek olmuyo' bildiğin gibi
Cmaj7
Hissetmiyorum olduğum gibi yanında
Em G
Diyo'lar ki "O hep doğrudur"
Cmaj7
Kusura bakma, hiç de öyle olmadı
İnandırdın en başta kendine
Em
Gülüce'z sonradan o son hâline
Em G
Beni hak etmedin, bunu bi' anla
Kime sövdüysen oldun aynısı
Cmaj7
Ben taş edip tuttum yerinde
Kalbimi onlara harcamadım para gibi
Em
Dönsen de, gеlmesen de içim rahat bеnim böyle
G Cmaj7
Ses versin daha iyi biri bana şu anda lütfen
Kendi zehrimden, yoksa ölüce'm
Em G
Diyo'lar ki "O hep doğrudur"
Cmaj7
Kusura bakma, hiç de öyle olmadı
İnandırdın en başta kendine
Em
Gülüce'z sonradan o son hâline
Em G
Diyo'sun ki "Ben hep seni sevdim"
Cmaj7
Hadi or'dan, nasıl bi' rüyadasın?
Em G
Sevmek olmuyo' bildiğin gibi
Cmaj7
Hissetmiyorum olduğum gibi yanında
End of song Play again?
Aleyna Tilki - Hiç de Öyle Olmadı Tabs
NotesX
Harmony analysis
Aleyna Tilki – Hiç de Öyle Olmadı: key and chord analysis
The song opens on Em and ends on Cmaj7. 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 12 times against 10 for G. 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 | 10× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | — |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| 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 | 10× |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| vi | Em | Relative minor — the melancholy side | E · G · B | 12× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 12× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 10× |
| iv | Am | Subdominant — moves away from home | A · C · E | — |
| v | Bm | Minor dominant — soft pull | B · D · F# | — |
| 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 | 10× |
| 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). 3 different chords appear 32 times in total; 3 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
- Cmaj7 Em GIVmaj7 → vi EmVImaj7 → iVI → i ×9
The move to watch is Cmaj7 → Em, heard 9 times. From the Em side it is VImaj7 → i (VI → i: falls a half step into home); from the G side it reads IVmaj7 → vi. 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 Em, land on E, G, B — 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 Cmaj7, land on C, E, G — 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
The song is already written in its easiest key for guitar.
The song's harmonic story
Starting on Em, the song gives away its key from the very first bar. Em, G, Cmaj7 carry the song: vi–I–IVmaj7 relative to G, i–III–VImaj7 relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cmaj7 → Em (IVmaj7 → vi in G, VImaj7 → i in Em): VI → i — falls a half step into home. It closes on Cmaj7, 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.
Aleyna Tilki - Hiç de Öyle Olmadı 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Aleyna TilkiMusic: Aleyna Tilki
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.