Pera - Ya da Yok - Chord

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

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Capo 0

Bm  C  C  Bm

Bm            C         G
Ne yoldu ne sondu beni bir yere götüren
Bm          C         G
Sebepti sonuçtu beni derbeder eden
Em      D          Bm        C
Belki yoktun var sandığımda bile
Em       D       Bm             C        
Hep yalnızdım kendimi kandırmışım meğerse

Bm       C           G
Zarardı ziyandı hep ellerimde kalan
Bm          C        G
Yalandı dolandı hiç sıkılmadan oynanan
C        D       Bm          C
Belki uzaktın yakın sandığımda bile
Em         D        Bm          C
Hiç dokunmamıştım benim sandığım kalbine

Em         D                 Bm           C  
Dünya güzel bir yer değil içim acı içim kederli bak yine
Em           D                Bm         C
Benim solup giden güzel kokan çiçeklerim var
Em           D               Bm             C
Sevda güzel bir şey değil içi hüzün iki gözünde yalanlar
Em          D               Bm             C
İnanıp da sevdiğim diye sarıldığım bedenler var
        Em  D  Bm  C   Em  D  Bm  C
Ya da yok  

Bm        C            G
Ne yoldu ne sondu beni bir yere götüren
Bm         C           G
Sebepti sonuçtu beni derbeder eden
Em        D        Bm        C
Belki yoktun var sandığımda bile
Em        D         Bm            C
Hiç dokunamamıştım benim sandığım kalbine

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Pera - Ya da Yok Tabs

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Harmony analysis

Pera – Ya da Yok: key and chord analysis

The song opens on Bm and ends on C. 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 Em is heard 11 times against 6 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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	6×
ii	Am	Supertonic — prepares the dominant	A · C · E	—
iii	Bm	Mediant — a tonic-family shade	B · D · F#	20×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	21×
V	D	Dominant — strongest pull home	D · F# · A	12×
vi	Em	Relative minor — the melancholy side	E · G · B	11×
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	11×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	6×
iv	Am	Subdominant — moves away from home	A · C · E	—
v	Bm	Minor dominant — soft pull	B · D · F#	20×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	21×
VII	D	Subtonic — steps back to the tonic	D · F# · A	12×

Analysis

The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 70 times in total; 5 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 ×9
C G GIV → Iplagal cadence EmVI → III ×6
C D GIV → VIV → V EmVI → VIIVI → VII ×1

The move to watch is C → Em, heard 9 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 C, land on C, E, G — the chord's own tones always sound right on strong beats.
Over Bm, land on B, D, F# — 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 opening Bm lays a solid floor for everything that follows. C, Bm, D, Em carry the song: IV–iii–V–vi relative to G, VI–v–VII–i 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. It closes on C, 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.