Funda Arar - Neyse - Chord

Key G major – E minor Chords Em, Am, Bm, B, F#m7b5, C, D Easy key C (capo 7)

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Capo 0

Em  Em  Am  Am  F#m7b5  B  Em  Em  C  B  Em

     Em
Ağır aksak, siler hayat
       Bm                Em
Yüzümdeki, tenimdeki izlerini

Ve en zorda aklı evvel 
      Bm
Yüreğime anlatırım 
     C
Canımdan saydığımın 
   Bm
İçimi eze eze 
    Am     F#m7b5    Em
El olup sessiz gidişini

        Em            D
Anlamaz ki aşk öylece
     Em            Bm                 Em 
Hazırolda durup ne seni ne beni beklemez ki
            D      Em   D
Biraz yürek, biraz çaba 
   C     Bm
Ve gözün kara olmalı
      C
Bir büyük can pazarı aşk 
    Bm
Sapasağlam çıkmalı
    Am    F#m7b5      Em  Bm         Em
Hiç korkaklık dinlemez ki    dinlemez ki 

Am
Ben büyük aşkların kadınıyım
   Em                   F#m7b5        B
Kimler geçti ayaktayım, sen de mi duracaktım boşver gitsin 
         Am                Em
Artık kurşunlara diziyorum yalan aşk oyununu 
  F#m7b5     B                 Em
Duvarlara yazıyorum sonunu bitsin   

   Am          Em       B            Em
Boşver zaten hayat beni hiç anlamadı ki
   Am           Em       B   Em
Boşver zaten ne söylesem, neyse

End of song Play again?

Funda Arar - Neyse Tabs

NotesX

Harmony analysis

Funda Arar – Neyse: 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.

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 both starts and finishes on Em, Em is heard 21 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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	—
ii	Am	Supertonic — prepares the dominant	A · C · E	8×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	7×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	6×
IV	C	Subdominant — moves away from home	C · E · G	4×
V	D	Dominant — strongest pull home	D · F# · A	3×
vi	Em	Relative minor — the melancholy side	E · G · B	21×
viiø7	F#m7b5	Leading-tone chord — tension	F# · A · C · E	5×

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	21×
iiø7	F#m7b5	Supertonic — prepares the dominant	F# · A · C · E	5×
III	G	Relative major — the bright side	G · B · D	—
iv	Am	Subdominant — moves away from home	A · C · E	8×
v	Bm	Minor dominant — soft pull	B · D · F#	7×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	6×
VI	C	Submediant — warm colour	C · E · G	4×
VII	D	Subtonic — steps back to the tonic	D · F# · A	3×

Analysis

The key pair is G major and its relative E minor (1 sharp). 7 different chords appear 54 times in total; 6 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.

Chord movement

B Em GV/vi → vi EmV → iharmonic-minor cadence ×5
Am Em Gii → vi Emiv → iminor plagal ×4
F#m7b5 B Gviiø7 → V/vi Emiiø7 → Vii° → V ×3
Bm Em Giii → vi Emv → inatural-minor cadence ×3
D Em GV → videceptive cadence EmVII → iAeolian arrival ×2

The move to watch is B → Em, heard 5 times. From the Em side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the G side it reads V/vi → 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 Bm, land on B, D, F# — 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
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

The first chord is Em; the ear learns where home is within a second. The backbone is Em, Am, Bm, B — vi–ii–iii–V/vi from the G side, i–iv–v–V from the Em side. B is the interesting twist: in G it is a chromatic chord (V/vi), while in Em it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on B → Em (V/vi → vi in G, V → i in Em): harmonic-minor cadence — the major V resolves dramatically. 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.