Vega - Serzeniste - Chord

Key G major – E minor Chords Bm, G, F#, A Easy key F (capo 2)

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Capo 0

Bm    G     Bm     G    A    G    F#    Bm

Bm                 
Masumsun sen, masumsun sen
            G
Bana göre benimse kırk tilkiyle şu beynimde
F#
Ne işim var savaşlarda boyalarla gözlerimde

Bm
Belki de geçmişimde bir yerlerim yara aldı
     G 
Yok belki ben öldürmüştüm yaralanmam palavraydı
Bm
belki hiç anlatmadım diyeceklerim yarım kaldı
     G
Yok inanma bir şey yoktu söyleyeceklerim yalandı
F#
Zaten yalandı

     Bm                                                              
Ama ben, ben sahiden, ben her neysem işte                  
   F#                        G                            
Ağladım, boyam aktı her gün sana yenilişte         
       Bm                                                  
Biraz sev sakinleştir, sevdiğinim ben işte                                
        F#                   G                                   
Boşver sev sakinleşir, sevgilin serzenişte                                
     Bm                                         
Serzenişte

Bm
Masumsun sen, masumsun sen bana göre
G
Sarilmak istiyorken yorgun argin bedeninle
F#
Ben mesgulum savaslarda boyalarla gözlerimle

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Vega - Serzeniste Tabs

NotesX

Harmony analysis

Vega – Serzeniste: key and chord analysis

The song opens on Bm and ends on F#. 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 G major side because G is heard 9 times while Em never appears. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.

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	9×
ii	Am	Supertonic — prepares the dominant	A · C · E	—
II	A	Chromatic colour chordoutside the key	A · C# · E	1×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	10×
III	B	Chromatic colour chordoutside the key	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	—
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	—
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—
V/iii	F#	Secondary dominant V/iii — leads to Bmsecondary dominant	F# · A# · C#	6×

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	—
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
V/v	F#	Secondary dominant V/v — leads to Bmsecondary dominant	F# · A# · C#	6×
III	G	Relative major — the bright side	G · B · D	9×
iv	Am	Subdominant — moves away from home	A · C · E	—
IV	A	Major IV — Dorian / melodic-minor colourmodal colour	A · C# · E	1×
v	Bm	Minor dominant — soft pull	B · D · F#	10×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	—
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 26 times in total; 2 of them sit naturally inside the shared scale. F# acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
Over F#, land on F#, A#, C# — 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

2 semitones down · capo 2 keeps the original pitch
5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

The opening Bm lays a solid floor for everything that follows. Bm, G, F#, A carry the song: iii–I–V/iii–II relative to G, v–III–V/v–IV relative to Em. F# adds a moment of surprise: secondary dominant V/iii — leads to Bm. Ending on F#, 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.