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)
Tarık - Suna - Chord
Key G major – E minor Chords Bm7, Am7, Em7, D, C, Bm Easy key C (capo 7)
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Key: G | Em
Capo: 0
Bm7
Ateş olmayınca tütün mü tüter
Am7 Em7
Ak göğsün üstünde diken mi biter
Bm7
Vakti gelmeyince bülbül mü öter
Am7 Em7
Öte gider bir gözleri sürmeli
Em7 Bm7
Sabahtan uğradım onun yurduna
Am7 D C Bm7
Dayanılmaz firarına derdine
Em7 Bm7
Yıkılası karlı dağlar ardına
Am7 D C Bm7
İner gider bir gözleri sürmeli
Bm7 Em7
Oooooooff
Em7 Bm7 Am7
Suna'da deli gönül sunayı
Bm7 Em7
Ben uğruna terk ederim sılayı
Bm7 Am7
Harman gönderdim telli turnayı
Am7 D C Bm
İner gider bir gözleri sürmeli
Bm7 Em7
Oooooooff
Em7 Bm7 Am7
Suna'da deli gönül sunayı
Bm7 Em7
Ben uğruna terk ederim sılayı
Bm7 Am7
Harman gönderdim telli turnayı
Am7 D C Bm
İner gider bir gözleri sürmeli
End of song Play again?
Tarık - Suna Tabs
NotesX
Harmony analysis
Tarık – Suna: key and chord analysis
The song opens on Bm7 and ends on Bm. 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 Em is heard 10 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 | 10× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 14× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 2× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 4× |
| V | D | Dominant — strongest pull home | D · F# · A | 4× |
| vi7 | Em7 | Relative minor — the melancholy side | E · G · B · D | 10× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Em7 | Tonic — home | E · G · B · D | 10× |
| 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 | 10× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 14× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 2× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 4× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 4× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 44 times in total; 6 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 Em7 Giii7 → vi7 Emv7 → i7natural-minor cadence ×5
- Am7 D Gii7 → Vii → V Emiv7 → VII ×4
- Am7 Em7 Gii7 → vi7 Emiv7 → i7minor plagal ×2
The move to watch is Bm7 → Em7, heard 5 times. From the Em side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the G side it reads iii7 → vi7. 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 Em7, 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
Starting on Bm7, the song gives away its key from the very first bar. Bm7, Am7, Em7, D carry the song: iii7–ii7–vi7–V relative to G, v7–iv7–i7–VII relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm7 → Em7 (iii7 → vi7 in G, v7 → i7 in Em): natural-minor cadence — gentle, modal arrival. 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.
Tarık - Suna 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: KaracaoğlanMusic: Özgür Kurum
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