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)
Haluk Levent - Bazı Günler - Chord
Key G major – E minor Chords Em, D, C, Am, F#, B7 Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Em D C Am
Kaç bahar geçer kendimde böyle
Em D C Am
Her şeye güvenmiştim ben sende
Em D C Am
Ölene kadar sürer bu böyle
C D Em
Yaralı bitkin daha ne söyle
Em D C Am
Nereye kadar sürer bu böyle
Em D C Am
Vazgeçmem ki ölürüm de dönmem
Em D C Am C
Ölene kadar savaşmanın anlamını anlamadım gitti
D Em C D Em
Anlayan var mı zaten, anlayan yok ki zaten
F# B7
Belki biraz umurunda olsa
F# B7
Birkaç satır bile olsun yazsan
Em
Bazı günler çok mutsuzum
Am
Bazı günlerse huzursuz
C D Em
Ama sen bilsen yine sonun yok
Em
Belki yalnız savaşırım
Am
Belki de yapayalnız bir ben
C D Em
Tükeniyorum haberin yok
Em
Bazı günler çok mutsuzum
Am
Bazı günlerse huzursuz
C D Em
Ama sen bilsen yine sonun yok
C D Em
Em D C Am
Otururum karanlık içim dışım
Em D C Am
Sende kaldı huzur zordur işim
Em D C Am
Acı olan bazen sana o kadar muhtacım ki
C D Em
Ama gel desem de bir anlamı yok
C D Em
Hatta gel desem gülersin bile belki
F# B7
Belki biraz umurunda olsa
F# B7
Birkaç satır bile olsun yazsan
Em
Bazı günler çok mutsuzum
Am
Bazı günlerse huzursuz
C D Em
Ama sen bilsen yine sonun yok
Em
Belki yalnız savaşırım
Am
Belki de yapayalnız bir ben
C D Em
Tükeniyorum haberin yok
End of song Play again?
Haluk Levent - Bazı Günler Tabs
NotesX
Harmony analysis
Haluk Levent – Bazı Günler: 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.
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 25 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 14× |
| 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 | 4× |
| IV | C | Subdominant — moves away from home | C · E · G | 20× |
| V | D | Dominant — strongest pull home | D · F# · A | 20× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 25× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| V/iii | F# | Secondary dominant V/iii — leads to Bmsecondary dominant | F# · A# · C# | 4× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 25× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| V/v | F# | Secondary dominant V/v — leads to Bmsecondary dominant | F# · A# · C# | 4× |
| III | G | Relative major — the bright side | G · B · D | — |
| iv | Am | Subdominant — moves away from home | A · C · E | 14× |
| 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 | 4× |
| VI | C | Submediant — warm colour | C · E · G | 20× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 20× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 87 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 is V7/vi, a secondary dominant heading for Em. F# acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×11
- C D GIV → VIV → V EmVI → VIIVI → VII ×11
- Am Em Gii → vi Emiv → iminor plagal ×6
- B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×2
The move to watch is D → Em, heard 11 times. From the Em side it is VII → i (Aeolian arrival: rises a whole tone into home); from the G side it reads V → vi (deceptive cadence: expected G, lands on 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 D, land on D, F#, A — 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.
- 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
The song is already written in its easiest key for guitar.
The song's harmonic story
The first chord is Em; the ear learns where home is within a second. The chords that keep coming back are Em, D, C, Am; read them as vi–V–IV–ii in G or i–VII–VI–iv in Em. F# is the interesting twist: in G it is a chromatic chord (V/iii), while in Em it becomes the dominant (V/v) that makes the minor side sound so determined. Keep an ear on D → Em (V → vi in G, VII → i in Em): Aeolian arrival — rises a whole tone into home. 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.
Haluk Levent - Bazı Günler 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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