Teoman - Uykusuz Her Gece - Chord

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

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Em
Tam ona sarılırken gördüm pencereden
                                      Am
Gülünecek ne vardı gülüyordun ya öperken
                       Em
Bu gece seninle olalım canım derken
               B        Em
Sildim seni o anda kalbimden

Em
Neydi kopan içimden yıllar zincirinden
                                      Am   
Öldüm sanki yaşarken kaçtım hemen o sahneden
                           Em
Kendimi buldum ben çalıştığım bu yerde
                   B
Azalır acılar da belki gitgide    

         Am               Em
Uykusuz her gece bu soğuk kahvede
            Am         D          B         Em
Sabahlarım bazen günlerce rüyalarıma gelme diye
         Am              Em
Uykusuz her gece yorgun ölesiye
          B                     Em
Unutur muyum seni yorulsam her gece    

Em
Masada boş bardaklar kirlenmiş tabaklar
                                  Am
Çoğalıyor önümde bitmesin sabaha kadar
                      Em
Yakmıyor elimi artık bu kaynar sular
            B           Em
Yoruldukça kaybolur acılar

End of song Play again?

Teoman - Uykusuz Her Gece Tabs

NotesX

Harmony analysis

Teoman – Uykusuz Her Gece: 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.

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)
#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 both starts and finishes on Em, Em is heard 12 times while G never appears 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.

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#	5×
IV	C	Subdominant — moves away from home	C · E · G	—
V	D	Dominant — strongest pull home	D · F# · A	1×
vi	Em	Relative minor — the melancholy side	E · G · B	12×
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	12×
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#	5×
VI	C	Submediant — warm colour	C · E · G	—
VII	D	Subtonic — steps back to the tonic	D · F# · A	1×

Analysis

The key pair is G major and its relative E minor (1 sharp). 4 different chords appear 24 times in total; 3 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 B is V/vi, a secondary dominant heading for Em.

Chord movement

Am Em Gii → vi Emiv → iminor plagal ×5
B Em GV/vi → vi EmV → iharmonic-minor cadence ×4
Am D Gii → Vii → V Emiv → VII ×1

The move to watch is Am → Em, heard 5 times. From the Em side it is iv → i (minor plagal: deep and melancholic); from the G side it reads ii → vi. 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 B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
When B 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 opening Em lays a solid floor for everything that follows. The chords that keep coming back are Em, Am, B, D; read them as vi–ii–V/vi–V in G or i–iv–V–VII in Em. B is the interesting twist: in G it is a chromatic chord (V/vi), while in Em it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Am → Em (ii → vi in G, iv → i in Em): minor plagal — deep and melancholic. It closes on Em, letting the Em 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.