Son Feci Bisiklet - Gece - Chord

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

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Capo 0

B             Em               B
O gece gördüm onu üç adım uzaktan 
            Em               B
Üstünü çıkardı yakındı sıcaktan 
             Em                Am
Şikayet etmedim gözlerini bekledim 
        B      Em   B
Beni delip geçsin 

B           Em              B         
Vazgeçebilirdim buraya bakmasa 
           Em              B
Bana doğru birkaç adım atmasa 
          Em              Am 
Evet gece uzun ama hayat kısa 
       B    Em   B
Bunun farkında 

               Am     Em
Ama o, benimle gel, dedi 
        Am    Em
Ve beni dinledi 
     Am         G                F#
Yalandan muaf birkaç bir şey de söyledi 

F#       Am        Em
Bir arkadaşın evinde 
        Am   Em
Gecenin köründe 
       Am   G           F#          Em   B
Yanıma yanaştı ve zulasını benle paylaştı 

B               Em      B         
Rüyamda beni buldu o gece 
                 Em        B         
Ve renkler kayboldu o gidince 
          Em                Am     B     Em   B 
Sanmazdım hiç benim gibi bi piçle işi olsun 

               Am     Em
Ama o, benimle gel, dedi 
        Am    Em
Ve beni dinledi 
     Am         G                F#
Yalandan muaf birkaç bir şey de söyledi 

F#       Am        Em
Bir arkadaşın evinde 
        Am   Em
Gecenin köründe 
       Am   G           F#          Em   B
Yanıma yanaştı ve zulasını benle paylaştı 

G        B       Cm 
Günler sonra onu bir yerde bulduğumda 
G     Cm
Dönmezse 
         G    Cm
Ya beni görmezse 

G          B           Cm 
En güneşli günler bile hep üzgünler 
      G   Cm   G
Hadi gel benim ol
Cm     G 
Benim ol 
     Cm    G
Hadi benim ol 
     Cm    Em  B
Hadi benim ol 

B             Em              B
Rüyamda beni bul hep ve her gece 
               Em          B
Kabuslar kaybolur sen gelince 
          Em                B            Em   B 
Sanmazdım hiç benim gibi bi piçle işin olsun

End of song Play again?

Son Feci Bisiklet - Gece Tabs

NotesX

Harmony analysis

Son Feci Bisiklet – Gece: key and chord analysis

The song opens on B and ends on B. 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 Em is heard 27 times against 12 for G 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	12×
ii	Am	Supertonic — prepares the dominant	A · C · E	15×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	25×
IV	C	Subdominant — moves away from home	C · E · G	—
iv	Cm	Minor iv — borrowed from the parallel minorborrowed chord	C · Eb · G	8×
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	27×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—
V/iii	F#	Secondary dominant V/iii — leads to Bmsecondary dominant	F# · A# · C#	6×

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	27×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
V/v	F#	Secondary dominant V/v — leads to Bmsecondary dominant	F# · A# · C#	6×
III	G	Relative major — the bright side	G · B · D	12×
iv	Am	Subdominant — moves away from home	A · C · E	15×
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#	25×
VI	C	Submediant — warm colour	C · E · G	—
vi	Cm	Chromatic colour chordoutside the key	C · Eb · G	8×
VII	D	Subtonic — steps back to the tonic	D · F# · A	—

Analysis

The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 93 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. F# acts as a secondary dominant, briefly pointing at another chord of the key. Cm is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

B Em GV/vi → vi EmV → iharmonic-minor cadence ×16
Am Em Gii → vi Emiv → iminor plagal ×8
Cm G Giv → Iminor plagal Emvi → III ×7
Am B Gii → V/vi Emiv → Viv → V ×3

The move to watch is B → Em, heard 16 times. From the Em side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the G side it reads V/vi → 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 B, land on B, D#, F# — 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.
When B comes, swap the scale's D for D#: that single note is the harmonic-minor sound of the chord.
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

5 semitones up · capo 7 keeps the original pitch
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

The first chord is B; the ear learns where home is within a second. The backbone is Em, B, Am, G — vi–V/vi–ii–I from the G side, i–V–iv–III from the Em side. 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 B → Em (V/vi → vi in G, V → i in Em): harmonic-minor cadence — the major V resolves dramatically. Ending on B, 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.