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)
Gripin - Aşk Nerden Nereye - Chord
Key G major – E minor Chords Em, Am, Bm, C, D Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em
Bu ilk defa değil ki kimselere inanmadım
Am Bm Em
Yalanlar söylemeye başladığım günden beri bu ilk defa
Em
Cesaretimi topladım, gururumu ezdim geçtim
Am Bm Em
Bir zeybek gibi dimdik dikildim tam karşında son bir defa
D Em Bm C
Bugün fal bakmayı öğrendim elini tutabilmek için
Em Am C
Son bir defa boynuna sarılıp gitsem huzuru koklasam Ege’de
Bm Em D
Aşk nereden nereye
Em Am C
Soldan sağa dört harf ölüm, yazılmamış beş harf hayat
Bm Em
Aşk nereden nereye
Em Am C D Em C D
Em
Bu ilk defa değil ki kimselere inanmadım
Am Bm Em
Yalanlar söylemeye başladığım günden beri bu ilk defa
Em
Körfeze döndüm yüzümü bir zeybek gibi dimdik
Am Bm Em
Yalnızlıklardan ördüğüm duvarları yıkmak için sonsuza kadar
End of song Play again?
Gripin - Aşk Nerden Nereye Tabs
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Harmony analysis
Gripin – Aşk Nerden Nereye: 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)
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 and Em is heard 15 times while G never appears. 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 | 7× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 7× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 5× |
| V | D | Dominant — strongest pull home | D · F# · A | 4× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 15× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 15× |
| 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 | 7× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 7× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 5× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 4× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 38 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Bm Em Giii → vi Emv → inatural-minor cadence ×6
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×4
- C D GIV → VIV → V EmVI → VIIVI → VII ×2
- C Em GIV → vi EmVI → iVI → i ×1
The move to watch is Bm → Em, heard 6 times. From the Em side it is v → i (natural-minor cadence: gentle, modal arrival); from the G side it reads iii → 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 Bm, land on B, D, F# — 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
- 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 backbone is Em, Am, Bm, C — vi–ii–iii–IV from the G side, i–iv–v–VI from the Em side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm → Em (iii → vi in G, v → i in Em): natural-minor cadence — gentle, modal arrival. Ending on Em, the song seals Em 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.
Gripin - Aşk Nerden Nereye 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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Lyrics: Birol Namoğlu, Haluk KurosmanMusic: Birol Namoğlu, Haluk Kurosman, Murat Başdoğan
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