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)
Ari Barokas - Gavurlar - Chord
Key G major – E minor Chords Em, Am, G, D Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Em Em G D Am Am Em D Em
Em
Bir acayip memleketim var
Em
Kimimiz kul, kimimiz hükümdar
G D Am Em
Başımız yok öylece yaşarız, yaşarız
Em
Kara cahil bir vatandaş
Em
Okumuşlar hepsi de yandaş
G D Am Em
Biri var ki harbiden kalleş, yanarız
Am G
Toprak böyle bölüne
Am G
Tarih kanla siline
Am G Em
Halkın böylesine, vay
Am G
Dindar dinle dövüle
Am G
Kindar kinle sövüle
Am G Em
Günahın böylesine, vay
Em
Falan olmuş aynı terane
Filan olmuş hepsi bahane
G D
Bu ne aşktır deli divane
Am
Öpüyor, öpüyor, öpüyor bizi
Em D
Zorla yine düzüyor, düzüyor
Em
Bizi bu gavurlar
Em Em G D Am Am Em D Em
Em
Bir acayip devletimiz var
Yasalarla dertlerimiz var
G D Am Em
Oturup da öylece bakarız, bakarız
Em
Teröristler durduğu yerde
Profesörler çürüsün içerde
G D Am Em
Mapushane türküsü yakarız, yakarız
Am G
Toprak böyle bölüne
Am G
Tarih kanla siline
Am G Em
Halkın böylesine, vay
Am G
Dindar dinle dövüle
Am G
Kindar kinle sövüle
Am G Em
Günahın böylesine, vay
End of song Play again?
Ari Barokas - Gavurlar Tabs
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Harmony analysis
Ari Barokas – Gavurlar: 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 19 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 | 19× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 21× |
| 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 | — |
| V | D | Dominant — strongest pull home | D · F# · A | 10× |
| 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 | 19× |
| iv | Am | Subdominant — moves away from home | A · C · E | 21× |
| 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 | — |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 10× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 4 different chords appear 75 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
- Am Em Gii → vi Emiv → iminor plagal ×7
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×3
The move to watch is Am → Em, heard 7 times. From the Em side it is iv → i (minor plagal: deep and melancholic); from the G side it reads ii → 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 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 G, land on G, B, D — 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 first chord is Em; the ear learns where home is within a second. The backbone is Em, Am, G, D — vi–ii–I–V from the G side, i–iv–III–VII from the Em side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am → Em (ii → vi in G, iv → i in Em): minor plagal — deep and melancholic. Ending on Em, the song seals Em as home.
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.
Ari Barokas - Gavurlar 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: Ari BarokasMusic: Ari Barokas
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