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)
Aysel Yakupoğlu - Aklıma Gelme - Chord
Key G major – E minor Chords Am, Bm, D, Em, C, G, C#m7b5 Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em C Am Bm D Am D Am Bm Bm C#m7b5 Boğazımdaki bu düğümde neyin nesi böyle, kahretsin C Bm Aklıma mı geliyorsun yoksa yine G Em Ne zaman böyle olsa bilirim Am D Gelir karşımda durur hayalin Em D Akşam olur karanlık basar Am Bm Susar konuşmaz şu dilim Em C Yine geceler zindan olacak Am Bm Yine uykular haram D Am Yokluğun beni, beni saracak D Am Bm Korkuyorum aklıma gelme Em C Am Bm D Am D Am Bm G Em Ne zaman böyle olsa bilirim Am D Gelir karşımda durur hayalin Em D Akşam olur karanlık basar Am Bm Susar konuşmaz şu dilim Em C Yine geceler zindan olacak Am Bm Yine uykular haram D Am Yokluğun beni, beni saracak D Am Bm Korkuyorum aklıma gelme
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Aysel Yakupoğlu - Aklıma Gelme Tabs
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Harmony analysis
Aysel Yakupoğlu – Aklıma Gelme: key and chord analysis
The song opens on Em and ends on Bm. 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 8 times against 2 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 | 2× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 16× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 12× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 5× |
| viiø7/V | C#m7b5 | Secondary leading-tone chord viiø7/V — leads to Dsecondary dominant | C# · E · G · B | 1× |
| V | D | Dominant — strongest pull home | D · F# · A | 12× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 8× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 8× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 2× |
| iv | Am | Subdominant — moves away from home | A · C · E | 16× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 12× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 5× |
| viiø7/VII | C#m7b5 | Secondary leading-tone chord viiø7/VII — leads to Dsecondary dominant | C# · E · G · B | 1× |
| 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). 7 different chords appear 56 times in total; 6 of them sit naturally inside the shared scale. C#m7b5 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Am D Gii → Vii → V Emiv → VII ×6
- Bm Em Giii → vi Emv → inatural-minor cadence ×3
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×2
The move to watch is Am → D, heard 6 times. From the Em side it is iv → VII; from the G side it reads ii → V (ii → V: the classic preparation of the dominant). 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 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.
- Over D, land on D, F#, A — 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. Am, Bm, D, Em carry the song: ii–iii–V–vi relative to G, iv–v–VII–i relative to Em. C#m7b5 adds a moment of surprise: secondary leading-tone chord viiø7/V — leads to D. Keep an ear on Am → D (ii → V in G, iv → VII in Em): ii → V — the classic preparation of the dominant. It closes on Bm, letting the G 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.
Aysel Yakupoğlu - Aklıma Gelme 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: Umut BerberoğluMusic: Umut BerberoğluArrangement: Savaş Yakupoğlu
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