Tuğkan - Venüs - Chord

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

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Capo 0

C   D
 
C               D
Kim sevme dedi sana

Toz pembe hayatını
C                      D
İşe yaramaz oluşunun getirdiği

Yorgunluğunu boşluğunu 

C
Kim uzak tuttu seni 
D
Hayallerinden umutlarından 
C
Nasıl bi batağa saplandın
D
Ne de güzel farkında olmadan
 
Am           F
Bak ben venüsteyim
       C                   E
Yanıma gelmek için sıranı bekle
Am                F 
Dünyanda huzur yoksa
               C                   E
Muradına eremezsin çaresiz beklemekle

Am               F
O kadar yaşar mısın bilmem 
C            E
Elli ya da altmış
Am             F
Sen iyiyi umarken 
     C                     E
Arkandan birileri seni satmış 
Am              F
Ona buna heveslenip 
            C           E
Ortaya döktüysen zaaflarını 
Am           F                 C
Bi anda bulursun kendini toplarken 
             E
Kalp kırıklarını

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Tuğkan - Venüs Tabs

NotesX

Harmony analysis

Tuğkan – Venüs: key and chord analysis

The song opens on C and ends on E. 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: we can't honestly pick a side here — the song moves freely between G major and E minor. Try reading the chords both ways and see which feels more like home to you.

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#	—
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	11×
V	D	Dominant — strongest pull home	D · F# · A	5×
vi	Em	Relative minor — the melancholy side	E · G · B	—
V/ii	E	Secondary dominant V/ii — leads to Amsecondary dominant	E · G# · B	6×
bVII	F	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	F · A · C	6×
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	—
V/iv	E	Secondary dominant V/iv — leads to Amsecondary dominant	E · G# · B	6×
bII	F	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	F · A · C	6×
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#	—
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	11×
VII	D	Subtonic — steps back to the tonic	D · F# · A	5×

Analysis

The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 34 times in total; 3 of them sit naturally inside the shared scale. E acts as a secondary dominant, briefly pointing at another chord of the key. F is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

C D GIV → VIV → V EmVI → VIIVI → VII ×5

The move to watch is C → D, heard 5 times. From the G side it reads IV → V (IV → V: the lift that builds tension before home); from the Em side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
On F, follow the chord's notes (F · A · C) rather than the key's scale — it's a borrowed colour.

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 C lays a solid floor for everything that follows. The chords that keep coming back are C, Am, F, E; read them as IV–ii–bVII–V/ii in G or VI–iv–bII–V/iv in Em. E adds a moment of surprise: secondary dominant V/ii — leads to Am. Keep an ear on C → D (IV → V in G, VI → VII in Em): IV → V — the lift that builds tension before home. Ending on E, 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.