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)
Flört - Mutluyuz - Chord
Key G major – E minor Chords Em, Am, G, B7, D Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em Am G Nefes almakta bile zorluk çekiyorsun Em Am G Sorunların var yaşadığın bu dünyayla Em Am G Hayallerin seni yalnız bıraktıysa Em Am Hemen dön o temiz masum çocukluğuna G B7 Em Kime sorsam herkesin bir derdi var Am G D G Kimi para pul, kimi cennet, kimi aş peşinde Em Am G Mutluyuz biz, mutluyuz biz, umutluyuz Em Am G Mutluyuz biz, mutluyuz biz, umutluyuz Em Am G Öyle konuşup, böyle yapıp da, şöyle etsek Em Am Politika hep entrika, yalan dolan Em Am Fikirlerini özgürce söyleyemezsen Em Am Utanır, sıkılır kaçarsın memleketten G B7 Em Ne söylesem, ne etsem, derdine ne çare Am G D Umudumuz var ya dostum, yeter bize Em Am G Mutluyuz biz, mutluyuz biz, umutluyuz Em Am G Mutluyuz biz, mutluyuz biz, umutluyuz
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Flört - Mutluyuz Tabs
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Harmony analysis
Flört – Mutluyuz: key and chord analysis
The song opens on Em and ends on G. 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 comes to rest on G, it opens on Em, Em is heard 14 times against 13 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | 13× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 14× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V7/vi | B7 | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# · A | 2× |
| IV | C | Subdominant — moves away from home | C · E · G | — |
| V | D | Dominant — strongest pull home | D · F# · A | 2× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 14× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 14× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 13× |
| iv | Am | Subdominant — moves away from home | A · C · E | 14× |
| v | Bm | Minor dominant — soft pull | B · D · F# | — |
| V7 | B7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# · A | 2× |
| VI | C | Submediant — warm colour | C · E · G | — |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 2× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 45 times in total; 4 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
- B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×2
- Am Em Gii → vi Emiv → iminor plagal ×2
- D G GV → Iauthentic cadence EmVII → III ×1
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×1
The move to watch is B7 → Em, heard 2 times. From the Em side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the G side it reads V7/vi → vi (secondary resolution: B7 resolves a fourth up to Em). 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 Am, land on A, C, E — 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.
- 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 first chord is Em; the ear learns where home is within a second. Em, Am, G, B7 carry the song: vi–ii–I–V7/vi relative to G, i–iv–III–V7 relative to Em. 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 B7 → Em (V7/vi → vi in G, V7 → i in Em): harmonic-minor cadence — the major V resolves dramatically. Ending on G, 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.
Flört - Mutluyuz 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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