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)
Athena - Dert - Chord
Key G major – E minor Chords Em, C, D, Am, G, Gm Difficulty already in its easiest key
No ratings yet
or your user informations
Make it yours
Text size
Key: G | Em
Capo: 0
C Em Bir iki dert dert üstünde dert C Em Bir iki dert dert üstüme dert Am Gm Aşk üstüme aşk vurdu yeniden D Em Bilmiyorum ben C Em Sevsen dert sevemesen dert C Em Ne yapsam ne etsem Am G Kimse kaçamaz keyfinden D Em Bu ne biçim dert C Em Çoçukken istersin C Em Am G Aldırmaz gecersin, çoçukken küsersin C G Ama yok vurmadan bilmezsin C Em Büyüyünce anlar gidersin C Em Bu aşkta geçer kederde gecer C Em Dertte biter alırda gider Am G D Em Bazen derinlerden yüzerde geçer C Em C Em Sevinirken görmezsin aldırmaz geçersin Am G Koynundan uçarken Am C Bir ağlar da bir gülersin C Em Sen yine bana gelin bu gece C Em Belkide daha derinlere D Em D Em Kuçak açamayız uçar kaçamayız C Em Sen yine bana gelin bu gece C Em Belkide daha serinlere D Em D Em Dalar çıkamayız susar bakamayı
End of song Play again?
Athena - Dert Tabs
NotesX
Harmony analysis
Athena – Dert: key and chord analysis
The song opens on C and ends on Em. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the E minor side because it comes to rest on Em and Em is heard 22 times against 5 for G. 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 | 5× |
| i | Gm | Chromatic colour chordoutside the key | G · Bb · D | 1× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 6× |
| 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 | 17× |
| V | D | Dominant — strongest pull home | D · F# · A | 7× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 22× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 22× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 5× |
| iii | Gm | Chromatic colour chordoutside the key | G · Bb · D | 1× |
| iv | Am | Subdominant — moves away from home | A · C · E | 6× |
| 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 | 17× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 7× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 58 times in total; 5 of them sit naturally inside the shared scale. Gm step outside the scale as colour chords.
Chord movement
- C Em GIV → vi EmVI → iVI → i ×15
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×7
- C G GIV → Iplagal cadence EmVI → III ×1
The move to watch is C → Em, heard 15 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 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.
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. Em, C, D, Am carry the song: vi–IV–V–ii relative to G, i–VI–VII–iv 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. The final chord is Em; the ear comes to rest in Em.
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.
Athena - Dert 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.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.