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)
Yedinci Ev - Sarhoşum - Chord
Key G major – E minor Chords D, Em, Bm, C, Am Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em Em Bm Bm D C Em
Em Bm
İnceden bir gözüm dalar
D C D
Sen çıkarsın karşıma yürek dolar
Em Bm
Sebebim yok sanma kanım kaynar
D C D
Durmadan yol alırsan elim kayar
Am D C D Em
Derbeder bir halim var bugün, yanıma yaklaşma
Am D Em Bm Am
Sarhoşum yine bu akşam, sokaklarda dolaşsam
D Em
Derdimi kimlerle paylaşsam
Em Em Bm Bm D C Em
Em Bm
Benimlesin artık, hiç bırakmam
D C D
Sormam nereye uçarsın, yerin tamam
Em Bm
Sakın konuşma, ben anlamam
D C D
Devrilir başım bir kenara, umursamam
Am D C D Em
Derbeder bir halim var bugün, yanıma yaklaşma
Am D Em Bm Am
Sarhoşum yine bu akşam, sokaklarda dolaşsam
D Em
Derdimi kimlerle paylaşsam
End of song Play again?
Yedinci Ev - Sarhoşum Tabs
NotesX
Harmony analysis
Yedinci Ev – Sarhoşum: key and chord analysis
The song opens on Em 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 both starts and finishes on Em and Em is heard 16 times while G never appears. 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 | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 6× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 10× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 8× |
| V | D | Dominant — strongest pull home | D · F# · A | 18× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 16× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 16× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| iv | Am | Subdominant — moves away from home | A · C · E | 6× |
| 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 | 8× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 18× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 58 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
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×8
- C D GIV → VIV → V EmVI → VIIVI → VII ×6
- Am D Gii → Vii → V Emiv → VII ×6
- C Em GIV → vi EmVI → iVI → i ×2
The move to watch is D → Em, heard 8 times. From the Em side it is VII → i (Aeolian arrival: rises a whole tone into home); from the G side it reads V → vi (deceptive cadence: expected G, lands on 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 D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over Em, land on E, G, B — 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.
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 Em lays a solid floor for everything that follows. D, Em, Bm, C carry the song: V–vi–iii–IV relative to G, VII–i–v–VI relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D → Em (V → vi in G, VII → i in Em): Aeolian arrival — rises a whole tone into home. Ending on Em, the song seals Em 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.
Yedinci Ev - Sarhoşum 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: Birkan NasuhoğluMusic: Birkan NasuhoğluArrangement: Yedinci Ev
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