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)
OD Band - Aşk İçinden - Chord
Key G major – E minor Chords Em, C, D, B7, G, Am, F# Difficulty already in its easiest key
No ratings yet
or your user informations
Make it yours
Text size
Key: G | Em
Capo: 0
C B7 Em D C B7 Em D
C B7 Em D C B7 Em Em
Em D
Senden önce annem bana
Am G
Bu masalı anlattı
Em D
Sevmek bir tarafa zaten
C G
Hep daha ağır basardı
Em D
En korkunç maskeleri bana
Am G
Yakıştırman da doğaldı
Em D
Kapıyı çekip gitmek zaten
C G
Bir sana kolaydı
Em F#
Tüm suç bendeymiş ya şimdi
G C
Tutmayacağım elinden
x2
C B7
Sen bir korkak gerçeğinden
Em D
Ben gerçeğin en içinden
C B7
Sen bir korkak aşk içinden
Em D C
Bense aşkın en dibindeeen
B7 Em
Aşk içinden, aşk içinden
D C
En içinden
B7 Em D
Aşk içinden, aşk içinden
Em F#
Tüm suç bendeymiş ya şimdi
G C
Tutmayacağım elinden
x2
C B7
Sen bir korkak gerçeğinden
Em D
Ben gerçeğin en içinden
C B7
Sen bir korkak aşk içinden
Em D C
Bense aşkın en dibindeeen
B7 Em
Aşk içinden, aşk içinden
D C
En içinden
B7 Em D
Aşk içinden, aşk içinden
End of song Play again?
OD Band - Aşk İçinden Tabs
NotesX
Harmony analysis
OD Band – Aşk İçinden: key and chord analysis
The song opens on C and ends on D. 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)
- #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 Em is heard 19 times against 6 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | 6× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 2× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V7/vi | B7 | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# · A | 12× |
| IV | C | Subdominant — moves away from home | C · E · G | 16× |
| V | D | Dominant — strongest pull home | D · F# · A | 15× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 19× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| V/iii | F# | Secondary dominant V/iii — leads to Bmsecondary dominant | F# · A# · C# | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 19× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| V/v | F# | Secondary dominant V/v — leads to Bmsecondary dominant | F# · A# · C# | 2× |
| III | G | Relative major — the bright side | G · B · D | 6× |
| iv | Am | Subdominant — moves away from home | A · C · E | 2× |
| v | Bm | Minor dominant — soft pull | B · D · F# | — |
| V7 | B7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# · A | 12× |
| VI | C | Submediant — warm colour | C · E · G | 16× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 15× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 7 different chords appear 72 times in total; 5 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 B7 is V7/vi, a secondary dominant heading for Em. F# acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×12
- C G GIV → Iplagal cadence EmVI → III ×2
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×1
The move to watch is B7 → Em, heard 12 times. From the Em side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the G side it reads V7/vi → vi (secondary resolution: B7 resolves a fourth up to Em). 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 C, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- When B7 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
The song is already written in its easiest key for guitar.
The song's harmonic story
The first chord is C; the ear learns where home is within a second. The backbone is Em, C, D, B7 — vi–IV–V–V7/vi from the G side, i–VI–VII–V7 from the Em side. B7 is the interesting twist: in G it is a chromatic chord (V7/vi), while in Em it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on B7 → Em (V7/vi → vi in G, V7 → i in Em): harmonic-minor cadence — the major V resolves dramatically. The final chord is D; 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.
OD Band - Aşk İçinden 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: Öykü Ölçer - Elif Güneş PolatMusic: Öykü ÖlçerArrangement: OD Band
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.