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)
Güney Marlen - İsmi Gölge - Chord
Key G major – E minor Chords Em, Am, D, E7, B Easy key C (capo 7)
No ratings yet
or your user informations
Make it yours
Text size
Key: G | Em
Capo: 0
Em
Vur beni tam kalbimden vur
Bu bir cinayet serisi olur
Am
Aşk bir otelde ölü bulunur
Aynasızlar seni de vurur
Sorarlarsa faili meçhul
Em
Seni seviyorum kaç kurtul
Em
Daha çok genciz çok yazık olur
Kaçsa bile şu son vapur
Am
Seven sevdiğinin yanında durur
Kıyma bize gitme nolur
Gitme şehir çok bozulur
Em
Aşk karşı kıyıya vurur
D Em
Ah hayat ah be hayat
D Em
Beni dünyadan aşağı at
D Em
Yeni bir şehir ararım
D Em
Adını tek başıma koyarım
Em
Yeni birisiyle tanıştım ismi Gölge
E7 Am
İnanır mısın her saniye peşimde
Ama sana dürüst olmak gerekirse
B Em
Benim aklım hep sende
Em
Zor günlerde kimse yoktu
O kadar adama şimdi noldu
Am
Tüm çiçek çocuklar hep soldu
Yeni bir film oynuyordu
Kız sana çok benziyordu
Em
Film bitiyor herkes mutlu
Em
Susma kalbim bak hiç susma
Güler yüzüm yine zamanla
Am
Okudum yeni kokan bir kitapta
Evin yürümeyle on dakika
Ama günler alır bu aşkla
Em
Kesin ben kalırım o yolda
Em
Yeni birisiyle tanıştım ismi Gölge
E7 Am
İnanır mısın her saniye peşimde
Ama sana dürüst olmak gerekirse
B Em
Benim aklım hep sende
Em
Yeni birisiyle tanıştım ismi Yankı
E7 Am
Sorduğum her soruya var bir cevabı
Ama sana soru sormak gerekirse
B Em
Hala seviyor musun sen de
End of song Play again?
Güney Marlen - İsmi Gölge Tabs
NotesX
Harmony analysis
Güney Marlen – İsmi Gölge: 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 18 times while G never appears 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 | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 7× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | 3× |
| IV | C | Subdominant — moves away from home | C · E · G | — |
| V | D | Dominant — strongest pull home | D · F# · A | 4× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 18× |
| V7/ii | E7 | Secondary dominant V/ii — leads to Amsecondary dominant | E · G# · B · D | 3× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 18× |
| V7/iv | E7 | Secondary dominant V/iv — leads to Amsecondary dominant | E · G# · B · D | 3× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| iv | Am | Subdominant — moves away from home | A · C · E | 7× |
| 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# | 3× |
| VI | C | Submediant — warm colour | C · E · G | — |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 4× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 35 times in total; 3 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. E7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Am Em Gii → vi Emiv → iminor plagal ×4
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×4
- B Em GV/vi → vi EmV → iharmonic-minor cadence ×3
- E7 Am GV7/ii → iisecondary resolution EmV7/iv → iv ×3
- Am B Gii → V/vi Emiv → Viv → V ×3
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 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 D, land on D, F#, A — 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, Am, D, E7 — vi–ii–V–V7/ii from the G side, i–iv–VII–V7/iv from the Em side. E7 is the interesting twist: in G it is a chromatic chord (V7/ii), while in Em it becomes the dominant (V7/iv) 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. 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.
Güney Marlen - İsmi Gölge 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.
Repertoires with this song
Similar songs, ready to play: pick a list.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.