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)
İlyas Yalçıntaş - Sadem - Chord
Key G major – E minor Chords Am7, Em7, D, Bm7, B7, C Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em7
Yaktığın sönmedi hala
Am7
Kimseyi sevemiyorum
D B7 Em7 Bm7
Beni sana kattığın belli değil miii
D Am7 Em7
Sebebi bilemiyoorum
C
Aklımda bir tek sen varsın
Am7 Bm7 Am7 Bm7
Ben senden istediğimi kimseyeeeee diyemiyorum
Am7 Em7
Yormadan sormadan seveceğim seni sadem
D C B7
Gönlüme sarmadan ya buna var mı müsaden
Am7 Em7
Hiç durmadan yorulmadan seni bekleyeceğim zaten
D C B7
Evime düşen bir kaç saç telin olmadan ya buna var mı müsaden
Em7
Yüzümde çizgilerim var
Am7
Saçımda bembeyaz tenim
D B7 Em7 Bm7
Hala yapayalnız yattığım farkedilir miii
D Am7 Em7
Sebebi bilemiyoorum
C
Aklımda bir tek sen varsın
Am7 Bm7 Am7 Bm7
Ben senden istediğimi kimseyeeeee diyemiyorum
End of song Play again?
İlyas Yalçıntaş - Sadem Tabs
NotesX
Harmony analysis
İlyas Yalçıntaş – Sadem: 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)
- #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 8 times while G never appears 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 | — |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 10× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 6× |
| V7/vi | B7 | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# · A | 4× |
| IV | C | Subdominant — moves away from home | C · E · G | 4× |
| V | D | Dominant — strongest pull home | D · F# · A | 6× |
| vi7 | Em7 | Relative minor — the melancholy side | E · G · B · D | 8× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Em7 | Tonic — home | E · G · B · D | 8× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 10× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 6× |
| V7 | B7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# · A | 4× |
| VI | C | Submediant — warm colour | C · E · G | 4× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 6× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 38 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.
Chord movement
- Am7 Em7 Gii7 → vi7 Emiv7 → i7minor plagal ×4
- B7 Em7 GV7/vi → vi7secondary resolution EmV7 → i7harmonic-minor cadence ×3
- Am7 D Gii7 → Vii → V Emiv7 → VII ×2
The move to watch is Am7 → Em7, heard 4 times. From the Em side it is iv7 → i7 (minor plagal: deep and melancholic); from the G side it reads ii7 → 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 Em7, 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 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
- 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. The backbone is Am7, Em7, D, Bm7 — ii7–vi7–V–iii7 from the G side, iv7–i7–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 Am7 → Em7 (ii7 → vi7 in G, iv7 → i7 in Em): minor plagal — deep and melancholic. Ending on Bm7, the song seals G 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.
İlyas Yalçıntaş - Sadem 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: Soner SarıkabadayıMusic: Soner Sarıkabadayı
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