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)
Evrencan Gündüz - Mevsim Çiçekleri - Chord
Key G major – E minor Chords Em, Am, B7, D, G, F#, E, C#m7b5 … Difficulty already in its easiest key
No ratings yet
or your user informations
Make it yours
Text size
Key: G | Em
Capo: 0
Em Em Am B7
Em Am B7
Biri vardı, gözleri pırıl pırıl bakan
Em Am B7
Biri vardı, saçları kıvır kıvır dolanan
Am D G
Öteki vardı, gülüşüyle mutluluk saçan
Em C#m7b5
İçinde bir oyunbozan
F# B7 Em
Adamın aklını alan, bir kadın
Em Am B7
Geri sardı, günler geri geri sardı
Em Am B7
Olamazdı kokusu bende kalmadı
G E Am D
Sarardı, soldu gitti sonsuzluğa
Em C#m7b5
Hayatımın baharında
F# B7 Em
İçimde kaldı bir tutam hatıra
Em D
G Am D
Mevsim çiçekleri, yılın en güzelleri
G Em
Gönlümün efendisi
Am B7 Em E
Aşkımın firarisi oldunuz benim
Am D G C
Mevsim çiçekleri, yılın en güzelleri
F#
Gönlümde olmadı
B7 Em E
Başka bir benzerin senin
Am D G C F# B7 Em
End of song Play again?
Evrencan Gündüz - Mevsim Çiçekleri Tabs
NotesX
Harmony analysis
Evrencan Gündüz – Mevsim Çiçekleri: 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 15 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | 6× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 11× |
| 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 | 10× |
| IV | C | Subdominant — moves away from home | C · E · G | 2× |
| viiø7/V | C#m7b5 | Secondary leading-tone chord viiø7/V — leads to Dsecondary dominant | C# · E · G · B | 2× |
| V | D | Dominant — strongest pull home | D · F# · A | 6× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 15× |
| V/ii | E | Secondary dominant V/ii — leads to Amsecondary dominant | E · G# · B | 3× |
| 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 | 15× |
| V/iv | E | Secondary dominant V/iv — leads to Amsecondary dominant | E · G# · B | 3× |
| 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 | 6× |
| iv | Am | Subdominant — moves away from home | A · C · E | 11× |
| 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 | 10× |
| VI | C | Submediant — warm colour | C · E · G | 2× |
| viiø7/VII | C#m7b5 | Secondary leading-tone chord viiø7/VII — leads to Dsecondary dominant | C# · E · G · B | 2× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 6× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 9 different chords appear 59 times in total; 5 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#, E, C#m7b5 act as secondary dominants, briefly pointing at another chord of the key.
Chord movement
- B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×8
- Am B7 Gii → V7/vi Emiv → V7iv → V ×6
- D G GV → Iauthentic cadence EmVII → III ×5
- Am D Gii → Vii → V Emiv → VII ×5
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×1
The move to watch is B7 → Em, heard 8 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 Am, land on A, C, E — 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.
- 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
Starting on Em, the song gives away its key from the very first bar. Em, Am, B7, D carry the song: vi–ii–V7/vi–V relative to G, i–iv–V7–VII relative to 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. It closes on Em, letting the Em side have the last word.
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.
Evrencan Gündüz - Mevsim Çiçekleri 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.
Find something to play next
Ready-made lists by difficulty and mood.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.