Emre Aydın - Bu Kez Anladim - Chord

Key G major – E minor Chords Bm, Em, D, C, G, F# Easy key C (capo 7)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Bm               D
Bu kez anladım, kuru dallardan yapma
Em            Bm   C
Bi köprüden geçiyorum    
Bm             D
Ben ordaydım, erbabı yalnızları
Em               Bm   C
Yutan kentler biliyorum

Bm               D
Bu kez anladım, hüzünlerden bozma
Em               Bm  C
Mutluluklar yaşıyorum    
Bm             D
Ben ordaydım, acemi aşıkları
Em                 Bm
Boğan sular biliyorum

G                  F#             Bm
Ne müttefik belli, ne sığınakların yeri    

Bm                            C    
Kaybettim bugün kendimi, hükümsüzdür
      Em                      Bm
Sonu yok bunun, boşluklardan boşluk beğendim
Bm                             C
Vazgeçtim bugün her şeyden halsiz şu kalbim
Em                            Bm
Kan revan içinde hep kanamaz denen yerlerim

Em          D          C             
Hem suçsuz hem güçsüz hem halsiz
 
Bm               D
Bu kez anladım, kartonlardan yapma
Em            Bm   C
Siperlere pusuyorum    
Bm             D
Ben ordaydım, huzurlu zamanları
Em                 Bm
Yıkan sonlar biliyorum

End of song Play again?

Emre Aydın - Bu Kez Anladim Tabs

NotesX

Harmony analysis

Emre Aydın – Bu Kez Anladim: key and chord analysis

The song opens on Bm and ends on Bm. 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: to us the song feels closer to the E minor side because Em is heard 9 times against 1 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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	1×
ii	Am	Supertonic — prepares the dominant	A · C · E	—
iii	Bm	Mediant — a tonic-family shade	B · D · F#	17×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	7×
V	D	Dominant — strongest pull home	D · F# · A	7×
vi	Em	Relative minor — the melancholy side	E · G · B	9×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—
V/iii	F#	Secondary dominant V/iii — leads to Bmsecondary dominant	F# · A# · C#	1×

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	9×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
V/v	F#	Secondary dominant V/v — leads to Bmsecondary dominant	F# · A# · C#	1×
III	G	Relative major — the bright side	G · B · D	1×
iv	Am	Subdominant — moves away from home	A · C · E	—
v	Bm	Minor dominant — soft pull	B · D · F#	17×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	7×
VII	D	Subtonic — steps back to the tonic	D · F# · A	7×

Analysis

The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 42 times in total; 5 of them sit naturally inside the shared scale. F# acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

D Em GV → videceptive cadence EmVII → iAeolian arrival ×6
C Em GIV → vi EmVI → iVI → i ×2
Bm Em Giii → vi Emv → inatural-minor cadence ×1

The move to watch is D → Em, heard 6 times. From the Em side it is VII → i (Aeolian arrival: rises a whole tone into home); from the G side it reads V → vi (deceptive cadence: expected G, lands on Em). 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 Bm, land on B, D, F# — 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

5 semitones up · capo 7 keeps the original pitch
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

Starting on Bm, the song gives away its key from the very first bar. The backbone is Bm, Em, D, C — iii–vi–V–IV from the G side, v–i–VII–VI from the Em side. F# adds a moment of surprise: secondary dominant V/iii — leads to Bm. Keep an ear on D → Em (V → vi in G, VII → i in Em): Aeolian arrival — rises a whole tone into home. 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.