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)
Çağan Şengül - Teslim - Chord
Key G major – E minor Chords C, Em, D, Am, G Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Em
Durgun nefretim, hasret resmedip
Am
Yağmurlar büyüttüm, bulutlar hüzünlü
D
Yine sana ben teslim
C
Koşa koşa ben geldim
Em
Hep yanına
Em
Öldüm bilmedi, acım dinmedi
Am
Peşimde yıllarım, yüzüm gülmedi
D
İnadına hep sevdim
C
Bu acıyı ben seçtim
Em
Bir başıma
C D C
Uzak kalamadım yollarına
D C
Tutup saramadım kollarıma
D G C
Hiç anlatamadım başkasına seni
G C
Başkası var dedin
Em Em Am Am D C Em Em
Bitti mi tüm savaşların
Hiç bitmedi
Ya kırlangıçlar
Gördün mü onları
Hiç görmedim
Bir acı ne kadar devam eder
Sen ölene kadar
Peki ölüm bir son mu
Bu acıyı sen seçtin
Em
Öldüm bilmedi, acım dinmedi
Am
Peşimde yıllarım, yüzüm gülmedi
D
İnadına hep sevdim
C
Bu acıyı ben seçtim
Em
Bir başıma
C D C
Uzak kalamadım yollarına
D C
Tutup saramadım kollarıma
D G C
Hiç anlatamadım başkasına seni
G C
Başkası var dedin
End of song Play again?
Çağan Şengül - Teslim Tabs
NotesX
Harmony analysis
Çağan Şengül – Teslim: key and chord analysis
The song opens on Em and ends on C. 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 against 4 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 | 4× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 5× |
| 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 | 14× |
| V | D | Dominant — strongest pull home | D · F# · A | 10× |
| 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 | 4× |
| iv | Am | Subdominant — moves away from home | A · C · E | 5× |
| 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 | 14× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 10× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 43 times in total; 5 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
- C D GIV → VIV → V EmVI → VIIVI → VII ×6
- C Em GIV → vi EmVI → iVI → i ×5
- Am D Gii → Vii → V Emiv → VII ×4
- D G GV → Iauthentic cadence EmVII → III ×2
- C G GIV → Iplagal cadence EmVI → III ×2
The move to watch is C → D, heard 6 times. From the Em side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the G side it reads IV → V (IV → V: the lift that builds tension before home). 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 Em, land on E, G, B — 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
The song is already written in its easiest key for guitar.
The song's harmonic story
The first chord is Em; the ear learns where home is within a second. The chords that keep coming back are C, Em, D, Am; read them as IV–vi–V–ii in G or VI–i–VII–iv in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → D (IV → V in G, VI → VII in Em): VI → VII — the rising step that heads for the tonic. The final chord is C; the ear comes to rest in G.
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.
Çağan Şengül - Teslim 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: Çağan ŞengülMusic: Çağan ŞengülArrangement: Çağan Şengül
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