Tuğkan - Derya - Chord

Key G major – E minor Chords Bm7, C, Am7 Easy key C (capo 7)

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Capo 0

Am7  Bm7  C  Bm7
C    Bm7  C  Bm7

    Bm7
Bir kadın var sanki lütfu tanrının
        C                Bm7
Gülüşü araf takılıp kaldığım
 
O kadın öyle uzak ki hayallere
        C              Bm7
Siz onu hiç kolay sanmayın

         Am7
Yeşili deniz
            Bm7
Ah bir görseniz
        C
Yüzü derya
                Bm7
Hani aşk derler ya
    
    Bm7
Bir kadın var sanki sınavım
          C                  Bm7
Gün geçtikçe uzaklaşır adım adım

Ben o kadına dokunursam yanarım
        C               Bm7
Siz onu hiç yakmaz sanmayın

         Am7
Yeşili deniz
            Bm7
Ah bir görseniz
        C
Yüzü derya
                Bm7
Hani aşk derler ya

End of song Play again?

Tuğkan - Derya Tabs

NotesX

Harmony analysis

Tuğkan – Derya: key and chord analysis

The song opens on Am7 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: we can't honestly pick a side here — the song moves freely between G major and E minor. Try reading the chords both ways and see which feels more like home to you.

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	3×
iii7	Bm7	Mediant — a tonic-family shade	B · D · F# · A	14×
III	B	Chromatic colour chordoutside the key	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	9×
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	—
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	—
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	3×
v7	Bm7	Minor dominant — soft pull	B · D · F# · A	14×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	9×
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). 3 different chords appear 26 times in total; 3 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

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 C, land on C, E, G — the chord's own tones always sound right on strong beats.
Over Am7, 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

The opening Am7 lays a solid floor for everything that follows. The chords that keep coming back are Bm7, C, Am7; read them as iii7–IV–ii7 in G or v7–VI–iv7 in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. It closes on Bm7, 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.