Pilli Bebek - Eylül Akşamı - Chord

Key G major – E minor Chords Em, B7, Am, G, B, F#7, D7 Easy key C (capo 7)

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Capo 0

Em  Am  Am  G  G  D7  D7  Em  B7  Em

Em               B7        Am      B
Gözlerin umutlardan bir haber veriyor
Em               B7        Am      B  B7 
Gözlerin umutlardan bir haber veriyor
 
Am                         G
Aşık olacak gibisin, gözlerinde atıyor kalbin
        F#7         B7                              Em
Ve bir eylül akşamında yaprak çıtırtılarıyla yürüyorsun
 
Am                         G
Aşık olacak gibisin, gözlerinde atıyor kalbin
        F#7         B7                              Em
Ve bir eylül akşamında yaprak çıtırtılarıyla yürüyorsun
    B7           Em
Yürüyorsun, yürüyorsun
 
Em                B7       Am        B
Yorgunsun akan sudan daha çok yorgunsun
Em                    B7         Am         B  B7
Yalnızsın bir damla kadar göl içinde yalnızsın
 
Am                          G
Aşka dönecek gibisin, gözlerinde atıyor kalbin
        F#7         B7                              Em
Ve bir eylül akşamında yaprak çıtırtılarıyla yürüyorsun

Am                         G
Aşık olacak gibisin, gözlerinde atıyor kalbin
        F#7         B7                              Em
Ve bir eylül akşamında yaprak çıtırtılarıyla yürüyorsun
    B7           Em
Yürüyorsun, yürüyorsun

End of song Play again?

Pilli Bebek - Eylül Akşamı Tabs

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Harmony analysis

Pilli Bebek – Eylül Akşamı: 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 13 times against 6 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	6×
ii	Am	Supertonic — prepares the dominant	A · C · E	10×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V7/vi	B7	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F# · A	13×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	4×
IV	C	Subdominant — moves away from home	C · E · G	—
V7	D7	Dominant — strongest pull home	D · F# · A · C	2×
vi	Em	Relative minor — the melancholy side	E · G · B	13×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—
V7/iii	F#7	Secondary dominant V/iii — leads to Bmsecondary dominant	F# · A# · C# · E	4×

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	13×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
V7/v	F#7	Secondary dominant V/v — leads to Bmsecondary dominant	F# · A# · C# · E	4×
III	G	Relative major — the bright side	G · B · D	6×
iv	Am	Subdominant — moves away from home	A · C · E	10×
v	Bm	Minor dominant — soft pull	B · D · F#	—
V7	B7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F# · A	13×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	4×
VI	C	Submediant — warm colour	C · E · G	—
VII7	D7	Subtonic — steps back to the tonic	D · F# · A · C	2×

Analysis

The key pair is G major and its relative E minor (1 sharp). 7 different chords appear 52 times in total; 4 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 B7 / B is V7/vi, a secondary dominant heading for Em. F#7 acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×7
Am B Gii → V/vi Emiv → Viv → V ×4
F#7 B7 GV7/iii → V7/visecondary resolution EmV7/v → V7 ×4
B Em GV/vi → vi EmV → iharmonic-minor cadence ×2
D7 Em GV7 → videceptive cadence EmVII7 → iAeolian arrival ×1

The move to watch is B7 → Em, heard 7 times. From the Em side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the G side it reads V7/vi → vi (secondary resolution: B7 resolves a fourth up to Em). 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 B7, 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 B7 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, B7, Am, G; read them as vi–V7/vi–ii–I in G or i–V7–iv–III in Em. B7 is the interesting twist: in G it is a chromatic chord (V7/vi), while in Em it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on B7 → Em (V7/vi → vi in G, V7 → i in Em): harmonic-minor cadence — the major V resolves dramatically. The final chord is Em; the ear comes to rest in Em.

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.