Neyse - Yangın - Chord

Key G major – E minor Chords B7, C, Em, Am, D, G Difficulty already in its easiest key

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Capo 0

Am              Em                 B7
Gör, her yangından binbir renkten tek duman çıkar
       C           B7
Canın yanmaz eğer bilmesen

Am  C  G  B7  Em

D
Her yanımda bahar var
C
Kimsesiz baharlar ağlar
D
Bildiğin istilalar
C
Yerden göğe haksız bu duvar
        D
Ardında bir şekilde hayat var

Am               Em               B7
Gör, her yangından binbir renkten tek duman çıkar
       C          B7       Em
Canın yanmaz eğer bilmesen

D
Orta yerde savaştan
C
Eser yok, denilen küllük ormanda
D
Yanan sönen canımız var

Am              Em                 B7
Gör, her yangından binbir renkten tek duman çıkar
       C           B7
Canın yanmaz eğer bilmesen
Am         Em   B7
Gör lalalalalalalal
       C          B7       Em
Canın yanmaz eğer bilmesen

End of song Play again?

Neyse - Yangın Tabs

NotesX

Harmony analysis

Neyse – Yangın: key and chord analysis

The song opens on Am and ends on Em. 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 comes to rest on Em, Em is heard 7 times against 1 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	1×
ii	Am	Supertonic — prepares the dominant	A · C · E	5×
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	9×
IV	C	Subdominant — moves away from home	C · E · G	8×
V	D	Dominant — strongest pull home	D · F# · A	5×
vi	Em	Relative minor — the melancholy side	E · G · B	7×
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	7×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	1×
iv	Am	Subdominant — moves away from home	A · C · E	5×
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	9×
VI	C	Submediant — warm colour	C · E · G	8×
VII	D	Subtonic — steps back to the tonic	D · F# · A	5×

Analysis

The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 35 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.

Chord movement

Am Em Gii → vi Emiv → iminor plagal ×4
B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×3
C D GIV → VIV → V EmVI → VIIVI → VII ×3
C G GIV → Iplagal cadence EmVI → III ×1

The move to watch is Am → Em, heard 4 times. From the Em side it is iv → i (minor plagal: deep and melancholic); from the G side it reads ii → 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 B7, land on B, D#, F# — 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.
Over Em, land on E, G, B — 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 Am, the song gives away its key from the very first bar. The backbone is B7, C, Em, Am — V7/vi–IV–vi–ii from the G side, V7–VI–i–iv from the Em side. 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 Am → Em (ii → vi in G, iv → i in Em): minor plagal — deep and melancholic. 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.