Sıla - Afitap - Chord

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

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Capo 0

Bm            Am      Bm
Camda kırık ah elde yarık
Bm             Am    Bm
Sus biz öldük arkadaşım
Bm       Am      Bm
Aramızda aklı selim
C          Am      Bm
Hapı yuttuk arkadaşım

Bm             Am      Bm
Bilen baksın şu falımıza 
Bm            Am     Bm
Kaldık mı hacıya hocaya
Bm          Am      Bm
Kaç bade umut yazalım
C          Am      Bm
Halimize bak arkadaşım

Em        C         Am       Bm 
Haybeden kaybettik heybeden çıkar sandık
Em        C           Am             Bm 
Hatıradan mütevellit kaldıramadık bu hesabı

Bm
Cümle aleminden gönül işlerinden
Bm                      Am         Bm
Mevzu açma hüzünden hüzünlüyüz afitap
Bm
Cemali sözüyle hisli celaliyle
Bm                  Am        Bm
Git gide anneme benziyorum afitap

Bm           Am      Bm
Sen hala düşün yaz köşesi
Bm          Am      Bm
Ay içim buz kış köşesi
Bm           Am      Bm
Millet döndü kırk köşeyi
C         Am     Bm
Biz enayi arkadaşım

Bm            Am     Bm
Uyku bize biz ona düşman
Bm            Am     Bm
Kim kaybetmiş sen bulucan
Bm            Am     Bm
Az şekerli bi kahve yap
C          Am     Bm
Sade içemiyorum afitap

Em        C        Am        Bm 
Haybeden kaybettik heybeden çıkar sandık
Em         C          Am             Bm 
Hatıradan mütevellit kaldıramadık bu hesabı

Bm
Cümle aleminden gönül işlerinden
Bm                      Am         Bm
Mevzu açma hüzünden hüzünlüyüz afitap
Bm
Cemali sözüyle hisli celaliyle
Bm                  Am         Bm
Git gide anneme benziyorum afitap

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Sıla - Afitap Tabs

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Harmony analysis

Sıla – Afitap: 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 4 times while G never appears. 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	—
ii	Am	Supertonic — prepares the dominant	A · C · E	24×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	44×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	8×
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	4×
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	4×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	—
iv	Am	Subdominant — moves away from home	A · C · E	24×
v	Bm	Minor dominant — soft pull	B · D · F#	44×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	8×
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). 4 different chords appear 80 times in total; 4 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

Bm Em Giii → vi Emv → inatural-minor cadence ×4

The move to watch is Bm → Em, heard 4 times. From the Em side it is v → i (natural-minor cadence: gentle, modal arrival); from the G side it reads iii → vi. 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 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

5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

The opening Bm lays a solid floor for everything that follows. The backbone is Bm, Am, C, Em — iii–ii–IV–vi from the G side, v–iv–VI–i from the Em side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm → Em (iii → vi in G, v → i in Em): natural-minor cadence — gentle, modal arrival. The final chord is Bm; 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.