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 - Hey Sen Gitarım - Chord
Key G major – E minor Chords G, Em, A, C, A#m, G#m, F#, F Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Em
Herkesin şarkısı var ama bir tek senin yok
Em G A
Aslında onları yazdıran sensin
Em
En kötü anımda yanımdaydın haberim yok
Em
Her derdimi anlattım da, hep beni dinlerdin
G A
Bencillik ettim, değer vermedim
C A#m A G#m G
Attım seni köşeye haftalarca merhaba demedim
G A
Sen yine de geldin, bana tatlı tatlı söylendin
C A#m A G#m G
Ben sana bir teşekkür etmedim
G
Biliyorum tam bir öküzüm ve
F# F
Bunu çok geç farkettim ama
Em
Hey sen gitarım en büyük aşkım sensin
End of song Play again?
Evrencan Gündüz - Hey Sen Gitarım Tabs
NotesX
Harmony analysis
Evrencan Gündüz – Hey Sen Gitarım: 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 G is heard 6 times against 5 for 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× |
| bii | G#m | Chromatic colour chordoutside the key | G# · B · D# | 2× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | — |
| II | A | Chromatic colour chordoutside the key | A · C# · E | 5× |
| biii | A#m | Chromatic colour chordoutside the key | A# · C# · E# | 2× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 2× |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| vi | Em | Relative minor — the melancholy side | E · G · B | 5× |
| bVII | F | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | F · A · C | 1× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| VII | F# | Chromatic colour chordoutside the key | F# · A# · C# | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 5× |
| bII | F | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | F · A · C | 1× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| II | F# | Chromatic colour chordoutside the key | F# · A# · C# | 1× |
| III | G | Relative major — the bright side | G · B · D | 6× |
| #iii | G#m | Chromatic colour chordoutside the key | G# · B · D# | 2× |
| iv | Am | Subdominant — moves away from home | A · C · E | — |
| IV | A | Major IV — Dorian / melodic-minor colourmodal colour | A · C# · E | 5× |
| #iv | A#m | Chromatic colour chordoutside the key | A# · C# · E# | 2× |
| v | Bm | Minor dominant — soft pull | B · D · F# | — |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 2× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | — |
Analysis
The key pair is G major and its relative E minor (1 sharp). 8 different chords appear 24 times in total; 3 of them sit naturally inside the shared scale. F is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 G, land on G, B, D — the chord's own tones always sound right on strong beats.
- Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
- On F, follow the chord's notes (F · A · C) rather than the key's scale — it's a borrowed colour.
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 backbone is G, Em, A, C — I–vi–II–IV from the G side, III–i–IV–VI from the Em side. F briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). 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.
Evrencan Gündüz - Hey Sen Gitarım 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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