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)
Zeynep Bastık - Birkaç Beden Önce - Chord
Key G major – E minor Chords Am7, Bm7, Em7, D, Cmaj7, G, E7 Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em7 Em7 Am7 Bm7 Em7 Am7 D Am7 Bm7
x2
Em7
O kadar oldu mu sahi yıllar mı geçti üstünden
Bm7
Sadece birkaç yalan önceydi sanki son görüşmemiz
Am7 Em7
Sahiden unuttuk mu tutunca başka ellerden
D Am7 Bm7 Cmaj7
Belki de birkaç beden önceydi senle son sevişşmemiz
Am7 Bm7
Kimlerden ayrıldık kime döndük yüzümüzü
Cmaj7 D G
Yalandan sevmelerle kapattık gözümüzü
Cmaj7 Bm7 Em7
Durup bir an sorsaydık kalbimize ikimizi
Cmaj7 Am7 Bm7
O yalan söylemez saklardı bizi
Em7
Ben çok sevdim göz bebeğim
Am7 Bm7
Her ne yaşadıysan farketmez
Em7 E7 Am7
Sıkılırsan kaç gel yanıma
D Am7 Bm7
Benden sana zarar gelmez
Em7
Ben çok sevdim göz bebeğim
Am7 Bm7
Her ne yaşadıysan farketmez
Em7 Am7
Sıkılırsan kaç gel yanıma
D Am7 Bm7
Benden sana zarar gelmez
End of song Play again?
Zeynep Bastık - Birkaç Beden Önce Tabs
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Harmony analysis
Zeynep Bastık – Birkaç Beden Önce: key and chord analysis
The song opens on Em7 and ends on Bm7. 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 10 times against 1 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 | 1× |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 13× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 11× |
| 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 | 4× |
| V | D | Dominant — strongest pull home | D · F# · A | 5× |
| vi7 | Em7 | Relative minor — the melancholy side | E · G · B · D | 10× |
| V7/ii | E7 | Secondary dominant V/ii — leads to Amsecondary dominant | E · G# · B · D | 1× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Em7 | Tonic — home | E · G · B · D | 10× |
| V7/iv | E7 | Secondary dominant V/iv — leads to Amsecondary dominant | E · G# · B · D | 1× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 1× |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 13× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 11× |
| 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 | 4× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 5× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 7 different chords appear 45 times in total; 6 of them sit naturally inside the shared scale. E7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Bm7 Em7 Giii7 → vi7 Emv7 → i7natural-minor cadence ×7
- Am7 D Gii7 → Vii → V Emiv7 → VII ×3
- D G GV → Iauthentic cadence EmVII → III ×1
- Am7 Em7 Gii7 → vi7 Emiv7 → i7minor plagal ×1
- Cmaj7 D GIVmaj7 → VIV → V EmVImaj7 → VIIVI → VII ×1
- E7 Am7 GV7/ii → ii7secondary resolution EmV7/iv → iv7 ×1
The move to watch is Bm7 → Em7, heard 7 times. From the Em side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the G side it reads iii7 → vi7. 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 Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over Em7, 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 opening Em7 lays a solid floor for everything that follows. Am7, Bm7, Em7, D carry the song: ii7–iii7–vi7–V relative to G, iv7–v7–i7–VII relative to Em. E7 adds a moment of surprise: secondary dominant V/ii — leads to Am. Keep an ear on Bm7 → Em7 (iii7 → vi7 in G, v7 → i7 in Em): natural-minor cadence — gentle, modal arrival. The final chord is Bm7; 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.
Zeynep Bastık - Birkaç Beden Önce 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: Şebnem SungurMusic: Gökhan Tepe
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