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)
ILKE - YOK - Chord
Key G major – E minor Chords Am, Gm, Bm, Em, G, F Easy key D (capo 5)
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Key: G | Em
Capo: 0
Am
Hala bi' bankada param yok
Bm
O yüzden şirketle aram yok
Em
Kötüden çalınır haram yok
G
Yakıcam ama sigaram yok
Am
Yaşıyorum bak (yaşıyorum bak)
Bm
Her şey yolunda (her şey yolunda)
Em
Yolun sonu var (yolun sonu var)
G
Dolu sorunlar (dolu sorunlar)
Am
Kafamda planlar binerken
Bm
Annemin arabasına
Em
Gerek de yoktu hiç yanlamasına
G
Sabahın köründen gece yarısına
Am
Sorunlar devamlı ve ara sıra
Bm
Oldukça tuhaftı ve ara sıra
Em
Uğraşır herkes kendi yarasına
G
Gerçekçi ol ve parayı sına
Uzunlar yansır dikiz aynasına
Am Bm
Yolun başında kendi başına
Em
On beş yaşında ilk atışında
G
Çizik kaşında mezar taşında
Am
Hiçbir önemi yok bunun dışında
Takipte adım adıma
Şahidim cebimin dolamadığına
Hala da inanamıyorum hayatımın
Bi' cehennem olamadığına
Am
Hala bi' bankada param yok
Bm
O yüzden şirketle aram yok
Em
Kötüden çalınır haram yok
G
Yakıcam ama sigaram yok
Am
Yaşıyorum bak (yaşıyorum bak)
Bm
Her şey yolunda (her şey yolunda)
Em
Yolun sonu var (yolun sonu var)
G
Dolu sorunlar (dolu sorunlar)
Gm
Dön, dön, dön aynaya bak
Farklı kişiler aynı yatakta
F
Yol kat et anlayarak (prr, prr)
Kalmışken son bir durak (prr, prr)
Gm
Geç benzin doldurarak (geç, geç)
Biz geldik kontrataktan
F
İmrendim baktım uzaktan
Gerek yok artık uzatmam
Gm
Pazara gönderip fake at (ah)
Eve git hemen FA Cup (ah)
F
Dumanla üstüne tek at (ah)
Ocağa adana kebap (wow)
Gm
Sahnede kalırsın knock out (ouu)
Olsaydı bizdeydi kokart (ah)
F
Ağlama sikini kopart (ah)
Yalama kendini domalt
Gm
Konfeti gelir bombeli (prr)
"Bire on verir." dedin
Gol yedin çünkü yok yerin
Sanki Wolverine
F
Bizde bol deli ve de ombreli
Gm
Yağmurda rallii bi' adderalli
F
Öldürebilir seni de bir geceden ani
Gm
Kazanan yok ben dahi, sen
F
"dahi anlamında de hali" yok yani
Gm
Yaşıyorum bak (yaşıyorum bak)
Her şey yolunda (her şey yolunda)
Yolun sonu var (yolun sonu var)
Dolu sorunlar (dolu sorunlar)
End of song Play again?
ILKE - YOK Tabs
NotesX
Harmony analysis
ILKE – YOK: key and chord analysis
The song opens on Am and ends on Gm. 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: 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | 7× |
| i | Gm | Chromatic colour chordoutside the key | G · Bb · D | 8× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 8× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 7× |
| 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 | 7× |
| bVII | F | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | F · A · C | 7× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 7× |
| bII | F | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | F · A · C | 7× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 7× |
| iii | Gm | Chromatic colour chordoutside the key | G · Bb · D | 8× |
| iv | Am | Subdominant — moves away from home | A · C · E | 8× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 7× |
| 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). 6 different chords appear 44 times in total; 4 of them sit naturally inside the shared scale. F is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Bm Em Giii → vi Emv → inatural-minor cadence ×7
The move to watch is Bm → Em, heard 7 times. From the G side it reads iii → vi; from the Em side it is v → i (natural-minor cadence: gentle, modal arrival). 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 Gm, land on G, Bb, D — 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.
- On F, follow the chord's notes (F · A · C) rather than the key's scale — it's a borrowed colour.
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 down · capo 5 keeps the original pitch
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The opening Am lays a solid floor for everything that follows. Am, Gm, Bm, Em carry the song: ii–i–iii–vi relative to G, iv–iii–v–i relative to Em. F briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on Bm → Em (iii → vi in G, v → i in Em): natural-minor cadence — gentle, modal arrival. The final chord is Gm; 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.
ILKE - YOK 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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