Gece - Başıma Gelenler (Nilüfer) - Chord

Key G major – E minor Chords Em, Am, G, B Easy key C (capo 7)

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Capo 0

Am   G   B   Em

     Am                 G
Yıkıldım artık ben sevemem yeniden 
    B                   Em
Başıma gelenler hep senden
     Am                 G
Yıkıldım artık ben sevemem yeniden 
    B                   Em
Başıma gelenler hep senden 

Em                    Am        G
Başıma gelenler hep senin yüzünden 
       Am     B         Em
Ne istedin benim sevgimden 
Em                    Am        G
Başıma gelenler hep senin yüzünden 
        B               Em
Ne istedin benim sevgimden 

     Am                 G
Yıkıldım artık ben sevemem yeniden 
    B                   Em
Başıma gelenler hep senden
     Am                 G
Yıkıldım artık ben sevemem yeniden 
    B                   Em
Başıma gelenler hep senden 

   Em             Am      G
Boşuna arama bulamazsın beni 
       Am        B       Em
Ne yapsan bir daha yanında 
    Em            Am       G
Boşuna arama bulamazsın beni 
       B             Em
Ne yapsan bir daha yanında 

     Am                 G
Yıkıldım artık ben sevemem yeniden 
    B                   Em
Başıma gelenler hep senden
     Am                 G
Yıkıldım artık ben sevemem yeniden 
    B                   Em
Başıma gelenler hep senden 

Am  G  B  Em
oooooooooooo  hey

Em                     Am         G
Kaçardın hep benden şimdi peşimdesin 
        Am         B           Em
Söyle neden değiştin böyle birden
     Em                Am         G
Kaçardın hep benden şimdi peşimdesin 
         B                    Em
Söyle neden değiştin böyle birden

End of song Play again?

Gece - Başıma Gelenler (Nilüfer) Tabs

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Harmony analysis

Gece – Başıma Gelenler (Nilüfer): key and chord analysis

The song opens on Am and ends on Em. 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 it comes to rest on Em, Em is heard 20 times against 14 for G 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	14×
ii	Am	Supertonic — prepares the dominant	A · C · E	17×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	14×
IV	C	Subdominant — moves away from home	C · E · G	—
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	20×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	20×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	14×
iv	Am	Subdominant — moves away from home	A · C · E	17×
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#	14×
VI	C	Submediant — warm colour	C · E · G	—
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 65 times in total; 3 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 B is V/vi, a secondary dominant heading for Em.

Chord movement

B Em GV/vi → vi EmV → iharmonic-minor cadence ×14
Am B Gii → V/vi Emiv → Viv → V ×3

The move to watch is B → Em, heard 14 times. From the Em side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the G side it reads V/vi → 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 Am, land on A, C, E — 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.
When B 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 first chord is Am; the ear learns where home is within a second. The backbone is Em, Am, G, B — vi–ii–I–V/vi from the G side, i–iv–III–V from the Em side. B is the interesting twist: in G it is a chromatic chord (V/vi), while in Em it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on B → Em (V/vi → vi in G, V → i in Em): harmonic-minor cadence — the major V resolves dramatically. Ending on Em, the song seals Em 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.