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)
Aşık Veysel - Sen Bir Ceylan Olsan - Chord
Key G major – E minor Chords Am, G, Em, D, C Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Am G Em Sen bir ceylan olsan ben de bir avcı Am G Em Avlasam çöllerde saz ile seni Am G Em Bulunmaz dermanı yoktur ilacı Am G D C Em Am G D C Em Vursam yaralasam söz ile seni diley diley diley söz ile seni Am G Em Kurulma sevdiğim güzelim deyin Am G Em Bağlanma karayı alları geyin Am G Em Ben bir çoban olsam sen de bir koyun Am G D C Em Am G D C Em Seslesem elime tuz ile seni diley diley diley tuz ile seni Am G Em Koyun olsan otlatırdım yaylada Am G Em Tellerini yoldurmazdım hoyrada Am G Em Balık olsan takla dönsen deryada Am G D C Em Am G D C Em Düşürsem toruma hız ile seni diley diley diley hız ile seni Am G Em Veysel der ismini koymam dilimden Am G Em Ayrı düştüm vatanımdan ilimden Am G Em Kuş olsan da kurtulmazdın elimden Am G D C Em Am G D C Em Eğer görse idim göz ile seni diley diley diley göz ile seni
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Aşık Veysel - Sen Bir Ceylan Olsan Tabs
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Harmony analysis
Aşık Veysel – Sen Bir Ceylan Olsan: 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.
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 comes to rest on 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 | 20× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 20× |
| 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 | 8× |
| V | D | Dominant — strongest pull home | D · F# · A | 8× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 20× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 20× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 20× |
| iv | Am | Subdominant — moves away from home | A · C · E | 20× |
| 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 | 8× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 8× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 76 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
- C Em GIV → vi EmVI → iVI → i ×8
The move to watch is C → Em, heard 8 times. From the Em side it is VI → i (VI → i: falls a half step into home); from the G side it reads IV → 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- 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.
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 Am; the ear learns where home is within a second. The backbone is Am, G, Em, D — ii–I–vi–V from the G side, iv–III–i–VII from the Em side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → Em (IV → vi in G, VI → i in Em): VI → i — falls a half step into home. 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.
Aşık Veysel - Sen Bir Ceylan Olsan 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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