Levent Yüksel - Bu Gece Son - Chord

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

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Capo 0

         G         Bm
Bu gece son biraz sonra
        C                 G        D
Bu kapıdan son kez çıkıp yine kendimi
       G    Bm
Vuracağım yollara
      C                  G     D
Kimbilir kaç kere ıslanacak yüzüm
   G             Bm
Elimi tut düşman olma 
     C                G       D
Ne olur parça parça olmasın içimiz
 
G                 Bm   
Mutlu ol iyi bak kendine 
     C                D   Em   
Ne olur gözüm arkada kalmasın
C                 Bm     Em
Uzun uzun seneler var önünde
C          Cm              G         Cm
Gün gelir sevgilim, acıya alışırsın alışırsın

End of song Play again?

Levent Yüksel - Bu Gece Son Tabs

NotesX

Harmony analysis

Levent Yüksel – Bu Gece Son: key and chord analysis

The song opens on G and ends on Cm. 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 G major side because it opens on G and G is heard 8 times against 2 for Em. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.

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	8×
ii	Am	Supertonic — prepares the dominant	A · C · E	—
iii	Bm	Mediant — a tonic-family shade	B · D · F#	5×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	6×
iv	Cm	Minor iv — borrowed from the parallel minorborrowed chord	C · Eb · G	2×
V	D	Dominant — strongest pull home	D · F# · A	4×
vi	Em	Relative minor — the melancholy side	E · G · B	2×
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	2×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	8×
iv	Am	Subdominant — moves away from home	A · C · E	—
v	Bm	Minor dominant — soft pull	B · D · F#	5×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	6×
vi	Cm	Chromatic colour chordoutside the key	C · Eb · G	2×
VII	D	Subtonic — steps back to the tonic	D · F# · A	4×

Analysis

The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 27 times in total; 5 of them sit naturally inside the shared scale. Cm is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

D G GV → Iauthentic cadence EmVII → III ×3
C G GIV → Iplagal cadence EmVI → III ×3
D Em GV → videceptive cadence EmVII → iAeolian arrival ×1
Cm G Giv → Iminor plagal Emvi → III ×1
C D GIV → VIV → V EmVI → VIIVI → VII ×1
Bm Em Giii → vi Emv → inatural-minor cadence ×1

The move to watch is D → G, heard 3 times. From the G side it reads V → I (authentic cadence: the strongest arrival home); from the Em side it is VII → III. 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 G, land on G, B, D — the chord's own tones always sound right on strong beats.
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.
On Cm, follow the chord's notes (C · Eb · G) 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 first chord is G; the ear learns where home is within a second. The backbone is G, C, Bm, D — I–IV–iii–V from the G side, III–VI–v–VII from the Em side. Cm briefly darkens the picture: minor iv — borrowed from the parallel minor. Keep an ear on D → G (V → I in G, VII → III in Em): authentic cadence — the strongest arrival home. It closes on Cm, 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.