Tuğkan - Ele Layık - Chord

Key G major – E minor Chords Em, D, Am, Bm, C Easy key C (capo 7)

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Capo 0

    Em
Bir ağlar bir gülerim, 
        D
Yüzünü göre göre güzelleşirim 
   Em
Bu yolda bir sürü bedel ödedim, 
       D
Hüzne böle böle gelebilirim

       Am
Yolumuza taş koymadan duramıyorlar,
 Em
Seni beni ele layık görüyorlar
D                            Em
Bize doğruyu söylemiyorlar, sevgilim
               Am
Yolumuza taş koymadan duramıyorlar, 
 Em
Seni beni ele layık görüyorlar
Bm                           Em
Bize doğruyu söylemiyorlar, sevgilim

   Em
Bazen solar bazen açarım 
       D
Sözüm çoksa bile konuşmam susarım 
         Em
Gülüyorsam mutluluktan değil,
       D
Elini tutmanın hayaliyle yaşarım

Bm     Am        Bm       Am
Ah, yaprak gibi, sert ve kırılgan

     Em            D             Am
Güz yağmurlarında uzansam kaldırımlara
C           Bm       Am        C
Ezip geçsen de darılmam, darılmam

End of song Play again?

Tuğkan - Ele Layık Tabs

NotesX

Harmony analysis

Tuğkan – Ele Layık: key and chord analysis

The song opens on Em 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 it opens on Em and Em is heard 9 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.

Seen from G major
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#	4×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	2×
V	D	Dominant — strongest pull home	D · F# · A	6×
vi	Em	Relative minor — the melancholy side	E · G · B	9×
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	9×
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#	4×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	2×
VII	D	Subtonic — steps back to the tonic	D · F# · A	6×

Analysis

The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 27 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 ×3
Am Em Gii → vi Emiv → iminor plagal ×3
Bm Em Giii → vi Emv → inatural-minor cadence ×1

The move to watch is D → Em, heard 3 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 Em, land on E, G, B — 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.
Over Am, land on A, C, E — 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. Em, D, Am, Bm carry the song: vi–V–ii–iii relative to G, i–VII–iv–v 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. The final chord is C; the ear comes to rest in G.

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.