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)
Güncel Gürsel Artıktay - Bana da Sorma - Chord
Key G major – E minor Chords C, D, Em, Am, A Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Em C Em C
Em C Em
Durma söyle, neler oldu
C
Gülen yüzümde
Em C Em
Haykırdım, sebep oldu
C
Neden diye
Am D C D
Sonra gülümsedin alıp götürdün yağmurlara
Am D C D
Her gün güneş neden doğar diye sordun mu hiç sen damlalara
Am C
Bana da sorma, bana da sorma
D A
Neden sever ya insan
C
Bana da sorma, bana da sorma
D Am
Durur mu birden zaman
Em C Em
Durma söyle, neler oldu
C
Gülen yüzümde
Em C Em
Haykırdım, sebep oldu
C
Neden diye
Am D C D
Sonra gülümsedin alıp götürdün yağmurlara
Am D C D
Her gün güneş neden doğar diye sordun mu hiç sen damlalara
Am C
Bana da sorma, bana da sorma
D A
Neden sever ya insan
C
Bana da sorma, bana da sorma
D Am
Durur mu birden zaman
End of song Play again?
Güncel Gürsel Artıktay - Bana da Sorma Tabs
NotesX
Harmony analysis
Güncel Gürsel Artıktay – Bana da Sorma: key and chord analysis
The song opens on Em and ends on Am. 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 opens on Em and Em is heard 10 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 8× |
| V/V | A | Secondary dominant V/V — leads to Dsecondary dominant | A · C# · E | 2× |
| 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 | 18× |
| V | D | Dominant — strongest pull home | D · F# · A | 12× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 10× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 10× |
| 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 | 8× |
| IV | A | Major IV — Dorian / melodic-minor colourmodal colour | A · C# · E | 2× |
| 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 | 18× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 12× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 50 times in total; 4 of them sit naturally inside the shared scale. A acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- C Em GIV → vi EmVI → iVI → i ×8
- C D GIV → VIV → V EmVI → VIIVI → VII ×8
- Am D Gii → Vii → V Emiv → VII ×4
- Am Em Gii → vi Emiv → iminor plagal ×1
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 C, land on C, E, G — 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.
- 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
Starting on Em, the song gives away its key from the very first bar. The chords that keep coming back are C, D, Em, Am; read them as IV–V–vi–ii in G or VI–VII–i–iv in Em. A adds a moment of surprise: secondary dominant V/V — leads to D. Keep an ear on C → Em (IV → vi in G, VI → i in Em): VI → i — falls a half step into home. Ending on Am, 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.
Güncel Gürsel Artıktay - Bana da Sorma 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: Güncel Gürsel ArtıktayMusic: Güncel Gürsel ArtıktayArrangement: Güncel Gürsel Artıktay
Kerem Cakiroglu
Kerem Cakiroglu
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