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)
Ali Baran - Bir Kerecik Gülümse - Chord
Key G major – E minor Chords Em, Am, C, D, G Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Em Bir kerecik gülümse G Am Bir kerecik gülümse C D Em Bir kerecik gülümse Em Sevduğuni bileyim G Am Sevduğuni bileyim C D Em Sevduğuni bileyim Em Sen bana kalbuni ver G Am Sen bana kalbuni ver C D Em Sen bana kalbuni ver Em Ben canumi vereyim G Am Ben canumi vereyim C D Em Ben canumi vereyim Em Duman dağun ustine G Am Duman dağun ustine C D Em Duman dağun ustine Em Ben da duman olayim G Am Ben da duman olayim C D Em Ben da duman olayim Em Gece yarun koynine Em Am Gece yarun koynine C D Em Gece yarun koynine Em Gündüz kimun olayim G Am Gündüz kimun olayim C D Em Gündüz kimun olayim Em Kapiya karamişe G Am Kapiya karamişe C D Em Kapiya karamişe Em Taş Attum Kara Kuşe G Am Taş Attum Kara Kuşe C D Em Taş Attum Kara Kuşe Em Yar alacağum seni G Am Yar alacağum seni C D Em Yar alacağum seni Em Sürma beni yokuşe G Am Sürma beni yokuşe C D Em Sürma beni yokuşe
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Ali Baran - Bir Kerecik Gülümse Tabs
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Harmony analysis
Ali Baran – Bir Kerecik Gülümse: key and chord analysis
The song opens on Em and ends on Em. 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 both starts and finishes on Em and Em is heard 25 times against 11 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 | 11× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 12× |
| 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 | 12× |
| V | D | Dominant — strongest pull home | D · F# · A | 12× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 25× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 25× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 11× |
| iv | Am | Subdominant — moves away from home | A · C · E | 12× |
| 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 | 12× |
| 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). 5 different chords appear 72 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
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×12
- C D GIV → VIV → V EmVI → VIIVI → VII ×12
The move to watch is D → Em, heard 12 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 Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over Am, land on A, C, E — 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.
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 opening Em lays a solid floor for everything that follows. Em, Am, C, D carry the song: vi–ii–IV–V relative to G, i–iv–VI–VII relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. 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 Em, letting the Em 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.
Ali Baran - Bir Kerecik Gülümse 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: AnonimMusic: Anonim
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