MFÖ - Ele Güne Karşı - Chord

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

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Capo 0

Em
Arayıp sormasan da unuttum seni sanma
Am              Em
Dünya bir yana sen bir yana
G                        Am
Aşık ettin beni kendine sonra da terkettin gizlice
D                     B
Aradım seni her yerde hiç kimselere soramadım    

Em
Bekledim dön diye dönmedin bile bile
Am                  Em
Bile bile sevdiğimi korkundan gelmedin
G                   Am
Arayıp sormasan da unuttum seni sanma sakın
D               B
Dünya bir yana sen bir yana

C               D         Am             Em
Ele güne karşı yapayalnız böyle de olmaz ki
C                D        Am              Em
Nasıl da gittin insafsız böyle bırakılmaz ki
Am                Em        Am            B
Unuturum sanmıştın güzelim, gözüm yollarda kaldı

Em
Haberin gelir bana duyarım nasıl olsa
Am                   Em
Bilirim kimlerlesin ne yaptın neler ettin
G                      Am
Aklım fikrim hep sende sevsen de sevmesen de
D                    B
Seni hiç aldatmadım aldatmayı hiç sevmem

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MFÖ - Ele Güne Karşı Tabs

NotesX

Harmony analysis

MFÖ – Ele Güne Karşı: key and chord analysis

The song opens on Em and ends on B. 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 opens on Em, Em is heard 9 times against 3 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	3×
ii	Am	Supertonic — prepares the dominant	A · C · E	10×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	4×
IV	C	Subdominant — moves away from home	C · E · G	2×
V	D	Dominant — strongest pull home	D · F# · A	5×
vi	Em	Relative minor — the melancholy side	E · G · B	9×
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	9×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	3×
iv	Am	Subdominant — moves away from home	A · C · E	10×
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#	4×
VI	C	Submediant — warm colour	C · E · G	2×
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). 6 different chords appear 33 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 B is V/vi, a secondary dominant heading for Em.

Chord movement

Am Em Gii → vi Emiv → iminor plagal ×6
Am D Gii → Vii → V Emiv → VII ×3
B Em GV/vi → vi EmV → iharmonic-minor cadence ×2
C D GIV → VIV → V EmVI → VIIVI → VII ×2
Am B Gii → V/vi Emiv → Viv → V ×1

The move to watch is Am → Em, heard 6 times. From the Em side it is iv → i (minor plagal: deep and melancholic); from the G side it reads ii → 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 D, land on D, F#, A — 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 opening Em lays a solid floor for everything that follows. The chords that keep coming back are Am, Em, D, B; read them as ii–vi–V–V/vi in G or iv–i–VII–V in Em. 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 Am → Em (ii → vi in G, iv → i in Em): minor plagal — deep and melancholic. It closes on B, 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.