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)
Salman Tin - Yerin Dolmuyor (Fatma Turgut) - Chord
Key G major – E minor Chords Cmaj7, Bm, Em, Am, D Easy key C (capo 7)
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Key: G | Em
Capo: 0
Cmaj7 Em Cmaj7 Em Cmaj7 Em Cmaj7 Em
Cmaj7 Em
Son bir dans mı istersin
Am Bm
Yoksa sonsuza kadar mı koşmak?
Cmaj7 Em
Korktu mu gözün yollardan
Am Bm
Kanı deli akan ben miyim?
Cmaj7 Em
Dolunayda kavrulmuş ruhum
Am Bm
Uykular zaten haram
Cmaj7 Em
Tam bir yalnızlık abidesiyim
Am Bm
Annem, babam üzgün
Am
Sana bir karanfil vermiştim
Bm
Sen de bir başkasına
Am
Hep benimle ol isterdim
Bm Cmaj7
Aşkından ölmekten usandım
Em D
Düşümde düşün kaldı
Cmaj7
Gözlerimde yaşın
Bm Am Bm
Dilimden düşmüyor sevdiğin şarkılar
Em D Cmaj7
Sanki yıllar öncesinden kalma bir duygu bu
Bm
Doluyu boşa koymuşum
Am Bm
Yerin dolmuyor
Cmaj7 Bm
Doluyu boşa koymuşum
Am Bm
Yerin dolmuyor
Cmaj7 Em Am Bm Cmaj7 Em Am Bm
End of song Play again?
Salman Tin - Yerin Dolmuyor (Fatma Turgut) Tabs
NotesX
Harmony analysis
Salman Tin – Yerin Dolmuyor (Fatma Turgut): key and chord analysis
The song opens on Cmaj7 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 Em is heard 12 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 | 11× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 14× |
| 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 | 14× |
| V | D | Dominant — strongest pull home | D · F# · A | 2× |
| 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 | — |
| iv | Am | Subdominant — moves away from home | A · C · E | 11× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 14× |
| 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 | 14× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 2× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 53 times in total; 5 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 ×11
- Bm Em Giii → vi Emv → inatural-minor cadence ×1
The move to watch is Cmaj7 → Em, heard 11 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 Cmaj7, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over Em, land on E, G, B — 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 Cmaj7; the ear learns where home is within a second. Cmaj7, Bm, Em, Am carry the song: IVmaj7–iii–vi–ii relative to G, VImaj7–v–i–iv 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 Bm, 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.
Salman Tin - Yerin Dolmuyor (Fatma Turgut) 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: Salman TinMusic: Salman TinArrangement: Kerem Akdağ
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