Sura İskenderli - Kopamıyorum Senden - Chord

Key G major – E minor Chords Bm7, D7, C7, Am7, C, Em, Cmaj7, D Difficulty already in its easiest key

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Capo 0

Em  Cmaj7  D7  Bm7  C7  Bm7  Am7  D7  C  Bm7

Bm7             C7    Bm7
Git dönme ya da kal gitme
                      C7    Bm7
İki çift sözüm sana yeter üzme
D        C       Am7     Bm7
Zaten yenik düştüm kaldıran yok
D         C       Am7        Bm7
Sözlerin ağırlaştı, hafifleten yok

Em               Cmaj7                 D7
Kopamıyorum senden ve bunu bilem tek sen
                Bm7                C7
Ne değişti birden uzak kaldık bizden
              D7  Am7                   D7
Sardı korku beniiii   içinde kaldım sanki
         C7        Am7    Bm7
Çareler içinde çaresiz kaldım

End of song Play again?

Sura İskenderli - Kopamıyorum Senden Tabs

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Harmony analysis

Sura İskenderli – Kopamıyorum Senden: key and chord analysis

The song opens on Em and ends on Bm7. 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the E minor side because it opens on Em and Em is heard 2 times while G never appears. 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	—
ii7	Am7	Supertonic — prepares the dominant	A · C · E · G	5×
iii7	Bm7	Mediant — a tonic-family shade	B · D · F# · A	10×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	3×
IVmaj7	Cmaj7	Subdominant — moves away from home	C · E · G · B	2×
IV7	C7	Chromatic colour chordoutside the key	C · E · G · Bb	5×
V7	D7	Dominant — strongest pull home	D · F# · A · C	5×
V	D	Dominant — strongest pull home	D · F# · A	2×
vi	Em	Relative minor — the melancholy side	E · G · B	2×
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	2×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	—
iv7	Am7	Subdominant — moves away from home	A · C · E · G	5×
v7	Bm7	Minor dominant — soft pull	B · D · F# · A	10×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	3×
VImaj7	Cmaj7	Submediant — warm colour	C · E · G · B	2×
VI7	C7	Chromatic colour chordoutside the key	C · E · G · Bb	5×
VII7	D7	Subtonic — steps back to the tonic	D · F# · A · C	5×
VII	D	Subtonic — steps back to the tonic	D · F# · A	2×

Analysis

The key pair is G major and its relative E minor (1 sharp). 8 different chords appear 34 times in total; 7 of them sit naturally inside the shared scale. C7 step outside the scale as colour chords.

Chord movement

Cmaj7 D7 GIVmaj7 → V7IV → V EmVImaj7 → VII7VI → VII ×2
Am7 D7 Gii7 → V7ii → V Emiv7 → VII7 ×2
Bm7 Em Giii7 → vi Emv7 → inatural-minor cadence ×1
C7 D7 GIV7 → V7IV → V EmVI7 → VII7VI → VII ×1

The move to watch is Cmaj7 → D7, heard 2 times. From the Em side it is VImaj7 → VII7 (VI → VII: the rising step that heads for the tonic); from the G side it reads IVmaj7 → V7 (IV → V: the lift that builds tension before home). 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 Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
Over D7, land on D, F#, A — the chord's own tones always sound right on strong beats.
Over C7, land on C, E, G — 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 Em; the ear learns where home is within a second. Bm7, D7, C7, Am7 carry the song: iii7–V7–IV7–ii7 relative to G, v7–VII7–VI7–iv7 relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cmaj7 → D7 (IVmaj7 → V7 in G, VImaj7 → VII7 in Em): VI → VII — the rising step that heads for the tonic. Ending on Bm7, the song seals G 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.