Yüksek Sadakat - Aşk Durdukça - Chord

Key G major – E minor Chords Em, D, Am, G, C, Bm, B Easy key C (capo 7)

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Capo 0

Em    C    G    D    

Em      Am            D   G
Dünya döner bir gün daha
Em      Am      G     D
Yer yüzünde aşk durdukça
Em     Am        Bm     C   D
Gece erken inse bile korkma
Em      Am         D
O hep seninle kaldıkça

Em       Am          D  G
Biliyorsun gitmem gerek
Em        Am    G    D
Yollar bitmez düşünerek
Em      Am       Bm   C     D
İster sonuç de istersen sebep
Em      Am          D
Bu düğümü çözmem gerek  

Em       Am     
Belki sana yazarım
D              G
Uğradığım bir şehirden
Em      Am   
Renkli bir kart atarım
B
Mekke ya da Kudüs'ten  
Em     Am   
Sonra bir gün çıkarım
D             G
Sen artık dönmez derken
Em        Am
Bir şarkı fısıldarım
B
Kulağına gün batarken              

Em                    C
Dünya döner tek bir yana aşk durdukça
       G              D
Doğsun diye gün bir daha
         Em            C
Ben de döndüm tekrar sana aşk durdukça
         G         D
Sönmek için yana yana

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Yüksek Sadakat - Aşk Durdukça Tabs

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Harmony analysis

Yüksek Sadakat – Aşk Durdukça: key and chord analysis

The song opens on Em and ends on D. 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 opens on Em, Em is heard 15 times against 9 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	9×
ii	Am	Supertonic — prepares the dominant	A · C · E	12×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	2×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	2×
IV	C	Subdominant — moves away from home	C · E · G	5×
V	D	Dominant — strongest pull home	D · F# · A	13×
vi	Em	Relative minor — the melancholy side	E · G · B	15×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
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	9×
iv	Am	Subdominant — moves away from home	A · C · E	12×
v	Bm	Minor dominant — soft pull	B · D · F#	2×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	2×
VI	C	Submediant — warm colour	C · E · G	5×
VII	D	Subtonic — steps back to the tonic	D · F# · A	13×

Analysis

The key pair is G major and its relative E minor (1 sharp). 7 different chords appear 58 times in total; 6 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.

Chord movement

D Em GV → videceptive cadence EmVII → iAeolian arrival ×8
Am D Gii → Vii → V Emiv → VII ×6
D G GV → Iauthentic cadence EmVII → III ×4
C G GIV → Iplagal cadence EmVI → III ×3
B Em GV/vi → vi EmV → iharmonic-minor cadence ×2
C D GIV → VIV → V EmVI → VIIVI → VII ×2

The move to watch is D → Em, heard 8 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 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.

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, D, Am, G — vi–V–ii–I from the G side, i–VII–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 D → Em (V → vi in G, VII → i in Em): Aeolian arrival — rises a whole tone into home. The final chord is D; 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.