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)
Sura İskenderli - Sonumu var - Chord
Key G major – E minor Chords Bm, Em, Am, G Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em Benim aşktan görmüyor gözlerim Bm Sen görüyorsan bak Am Sonumu var sonumu var Bm Sonumu var sonumu var Em Ben seni yanımda bile özlerim Bm Yalnışlarını susar gizlerim Am Söyle başka yolumu var Bm Em Em Am G Söyle başka yolumu var Em Kanar yaram kimse bilmez Bm Hissedersin sen duyarsın Am Senin gibi kimse sevemez Bm Sabredersin beni anlarsın Em İyiki varsın huzurumsun Bm Bu kalbime verme zarar Am Belki yolun sen bulursun Bm Em Söyle başka yolumu var Bm Em Bm Am Bm Söyle başka yolumu var Em Bm Am Bm Em Aşkı oyuncak zann edenler Bm Geriye kalır hep aşk kazanır Am Biter bir ilişki, yeni biri başlar Bm Dahada ağır kalpmi dayanır Em Günahı vebali neyse çekersin Bm Kırılsan bile yinede seversin Am Öyle severki sonum o,dersin Bm Gelir sana gönlünü alır Em Benim aşktan görmüyor gözlerim Bm Sen görüyorsan bak Am Sonumu var sonumu var Bm Sonumu var sonumu var Em Ben seni yanımda bile özlerim Bm Yalnışlarını susar gizlerim Am Söyle başka yolumu var Bm Em Söyle başka yolumu var
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Sura İskenderli - Sonumu var Tabs
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Harmony analysis
Sura İskenderli – Sonumu var: 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)
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 and Em is heard 14 times against 1 for G. 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 | 1× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 11× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 21× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | — |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| vi | Em | Relative minor — the melancholy side | E · G · B | 14× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 14× |
| 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 | 11× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 21× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | — |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | — |
Analysis
The key pair is G major and its relative E minor (1 sharp). 4 different chords appear 47 times in total; 4 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
- Bm Em Giii → vi Emv → inatural-minor cadence ×11
The move to watch is Bm → Em, heard 11 times. From the Em side it is v → i (natural-minor cadence: gentle, modal arrival); from the G side it reads iii → 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 Bm, land on B, D, F# — 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.
- Over Am, land on A, C, E — 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
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
Starting on Em, the song gives away its key from the very first bar. Bm, Em, Am, G carry the song: iii–vi–ii–I relative to G, v–i–iv–III relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm → Em (iii → vi in G, v → i in Em): natural-minor cadence — gentle, modal arrival. 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.
Sura İskenderli - Sonumu var 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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Lyrics: Lil OrxanMusic: Lil Orxan
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