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)
Son Feci Bisiklet - Şu An - Chord
Key G major – E minor Chords G, C, D, Am, Em, A, Bm Difficulty already in its easiest key
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Key: G | Em
Capo: 0
G C G C
G A C D
G Em Am D
Çok sevdik hiç pişman olmadık
G Em Am D
Çok özledik ama uslu durmadık
Am Em D
Biz çok içtik ama unutmadık
G Em Am D
Rüzgarı yedik ama pişman olmadık
G Em Am D
Bu manzara tam da hasta olmalık
Am Em D
Biz kaybettik her gün kaybettik
C Bm Am
Ama yine de
G C G C
Şu anda, yukarda
G A C D G
Şu anda, her şey yolunda gibi
G C G C
G A C D
G Em Am D
Hep iyi çocuklar aslında
G Em Am D
Kendilerini bulma faslında
Am Em D
Merak dostmuş şimdi düşman
C Bm A
Ama bu gece
G C G C
Şu anda, yukarda
G A C D G
Şu anda, her şey yolunda gibi
G C G C
G A C D
G Em Am D
Yatmıştık biz de seninle
G Em Am D
Tıbbi atıklar içinde
Am Em D
Biz kaybettik her gün kaybettik
C Bm Am
Biz kaybettik
End of song Play again?
Son Feci Bisiklet - Şu An Tabs
NotesX
Harmony analysis
Son Feci Bisiklet – Şu An: key and chord analysis
The song opens on G and ends on Am. Its chords belong to both G major and Em, so every chord below is read both ways.
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 25 times against 12 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | 25× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 14× |
| V/V | A | Secondary dominant V/V — leads to Dsecondary dominant | A · C# · E | 6× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 3× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 18× |
| V | D | Dominant — strongest pull home | D · F# · A | 17× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 12× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| 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 | 25× |
| iv | Am | Subdominant — moves away from home | A · C · E | 14× |
| IV | A | Major IV — Dorian / melodic-minor colourmodal colour | A · C# · E | 6× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 3× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 18× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 17× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 7 different chords appear 95 times in total; 6 of them sit naturally inside the shared scale. A acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- D G GV → Iauthentic cadence EmVII → III ×10
- C G GIV → Iplagal cadence EmVI → III ×10
- Am D Gii → Vii → V Emiv → VII ×8
- C D GIV → VIV → V EmVI → VIIVI → VII ×5
- Am Em Gii → vi Emiv → iminor plagal ×4
The move to watch is D → G, heard 10 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 D, land on D, F#, A — 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
The song is already written in its easiest key for guitar.
The song's harmonic story
Starting on G, the song gives away its key from the very first bar. The chords that keep coming back are G, C, D, Am; read them as I–IV–V–ii in G or III–VI–VII–iv in Em. A adds a moment of surprise: secondary dominant V/V — leads to D. Keep an ear on D → G (V → I in G, VII → III in Em): authentic cadence — the strongest arrival home. The final chord is Am; 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.
Son Feci Bisiklet - Şu An Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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