Hadise - Ne Yazar - Chord

Key G major – E minor Chords Am, Em, C, Cmaj7 Difficulty already in its easiest key

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Capo 0

Em  Cmaj7  Am  C Am  C

   Em
İnanılmış masallardan

İnsanlardan çok sıkıldım
        Cmaj7
Tüm ertelenmiş duygulardan
         Am
Senden bile uzaklaştım

Em
İçimde gizli hepsi çözmeni bekleyemem

Sarmaşık sarmış sanki koparmanı istemem
Cmaj7
Zihnimin dibindeki anıyı yaşatırken
Am                                     Em
Sarmaşık sarmış herkesi görmeni dileyemem

Em       Cmaj7       Am           C
Ne yazar ne yazar, olmasanız yanımda
   Am             C
Bakmazlar hiç aynaya
 
Em       Cmaj7     Am              C
Ne yazar ne yazar, ne çıkar bana yarayan
             Am
Çöplük olmuş aklınızdan
       C             Em
Tek faydanız uzak durmak

Em  Cmaj7  Am  C Am  C

Em
Dışardan göze kolay herkese gülerken ben

İçimde ne hesaplar vermişim görebilsen
Cmaj7
Uzaktı tüm hislerim yorgun düştü sözlerim
Am        Cmaj7             Em
Nerdeydin bakışlarım anlatırken

Em
İçimde gizli hepsi çözmeni bekleyemem

Sarmaşık sarmış sanki koparmanı istemem
Cmaj7
Zihnimin dibindeki anıyı yaşatırken
Am                                     Em
Sarmaşık sarmış herkesi görmeni dileyemem

Em       Cmaj7       Am           C
Ne yazar ne yazar, olmasanız yanımda
   Am             C
Bakmazlar hiç aynaya
 
Em       Cmaj7     Am              C
Ne yazar ne yazar, ne çıkar bana yarayan
             Am
Çöplük olmuş aklınızdan
       C             Em
Tek faydanız uzak durmak

End of song Play again?

Hadise - Ne Yazar Tabs

NotesX

Harmony analysis

Hadise – Ne Yazar: key and chord analysis

The song opens on Em 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the E minor side because it both starts and finishes on Em and Em is heard 15 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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	—
ii	Am	Supertonic — prepares the dominant	A · C · E	16×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	12×
IVmaj7	Cmaj7	Subdominant — moves away from home	C · E · G · B	11×
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	15×
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	15×
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	16×
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#	—
VI	C	Submediant — warm colour	C · E · G	12×
VImaj7	Cmaj7	Submediant — warm colour	C · E · G · B	11×
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 54 times in total; 4 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

C Em GIV → vi EmVI → iVI → i ×6
Am Em Gii → vi Emiv → iminor plagal ×3
Cmaj7 Em GIVmaj7 → vi EmVImaj7 → iVI → i ×1

The move to watch is C → Em, heard 6 times. From the Em side it is VI → i (VI → i: falls a half step into home); from the G side it reads IV → 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 Am, land on A, C, E — 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.
Over C, 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

The opening Em lays a solid floor for everything that follows. Am, Em, C, Cmaj7 carry the song: ii–vi–IV–IVmaj7 relative to G, iv–i–VI–VImaj7 relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → Em (IV → vi in G, VI → i in Em): VI → i — falls a half step into home. 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.