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)
Cihan Mürtezaoğlu - Zulmün Buysa - Chord
Key G major – E minor Chords Bm7, Am7, Em, C Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em Am7 Bm7 Bugün dağlar beste aman Em Am7 Bm7 Sol yanım dar kafeste aman C Bm7 Am7 Ziyan gittin, asta üste C Bm7 Am7 Yar bahçende bülbül beste Em Bm7 Kırmızıyla morla Em Bm7 Rengarengim yoluna Am7 Bm7 Am7 Karları bana yolla, yolla C Bm7 Am7 Boynum ince zulmün buysa Em Bm7 Em Bm7 Am7 Bm7 Am7 C Bm7 Am7 Em Em Am7 Bm7 Haber gönder dosta aman Em Am7 Bm7 Gönül bir okyanusta aman C Bm7 Am7 Ortada can, karda kışta C Bm7 Am7 Söz olmuşum kurda kuşta Em Bm7 Kırmızıyla morla Em Bm7 Rengarengim yoluna Am7 Bm7 Am7 Karları bana yolla, yolla C Bm7 Am7 Boynum ince zulmün buysa
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Cihan Mürtezaoğlu - Zulmün Buysa Tabs
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Harmony analysis
Cihan Mürtezaoğlu – Zulmün Buysa: key and chord analysis
The song opens on Em and ends on Am7. 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 11 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | — |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 17× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 20× |
| 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 | — |
| vi | Em | Relative minor — the melancholy side | E · G · B | 11× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 11× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 17× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 20× |
| 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 | — |
Analysis
The key pair is G major and its relative E minor (1 sharp). 4 different chords appear 55 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
- Bm7 Em Giii7 → vi Emv7 → inatural-minor cadence ×5
- Am7 Em Gii7 → vi Emiv7 → iminor plagal ×4
The move to watch is Bm7 → Em, heard 5 times. From the Em side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the G side it reads iii7 → 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 Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over Am7, land on A, C, E — 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.
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 first chord is Em; the ear learns where home is within a second. Bm7, Am7, Em, C carry the song: iii7–ii7–vi–IV relative to G, v7–iv7–i–VI relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm7 → Em (iii7 → vi in G, v7 → i in Em): natural-minor cadence — gentle, modal arrival. It closes on Am7, 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.
Cihan Mürtezaoğlu - Zulmün Buysa 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: Cihan Mürtezaoğlu
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