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)
Ayça Varlıer - Kumdan Kale - Chord
Key G major – E minor Chords Em, B, Am, C Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em Em Am B B Em
Em
Kumdan kale yaptım yine
Am
Dalgaları bekliyorum
B
Fazla açılmam bu kez söz
Em
Yalnız kıyıda oynuyorum
Em
Şımarık bir şarkısın sen
Am
Söylesem mi sussam mı
B
Korksam mı korunsam mı
Em
Çok tedirgin bekliyorum
Em Am
Ben yarım yaşamaktan yorgun
B Em
Sen bitmiş yollara hep dargın
C Am
Buluşamıyor konuşamıyor ve parapaymam
B Em
Dalga mısın sen deniz mi, bilmiyorum
B
Aynı yere bakıyoruz
Em
Aynı suda hep yıkandık
B
Yine de olmuyor işte
Em
Ayrılık var bu gidişle
Em B Em
Dargın mıyız, yorgun muyuz bilmiyorum
B Em
Kumdan kalemin içinde bekliyorum
End of song Play again?
Ayça Varlıer - Kumdan Kale Tabs
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Harmony analysis
Ayça Varlıer – Kumdan Kale: 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)
- #7 = D# (harmonic-minor leading tone from the V chord)
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, Em is heard 15 times while G never appears and the major V chord points straight at Em. 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 | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 5× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | 10× |
| IV | C | Subdominant — moves away from home | C · E · G | 1× |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| vi | Em | Relative minor — the melancholy side | E · G · B | 15× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 15× |
| 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 | 5× |
| 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# | 10× |
| VI | C | Submediant — warm colour | C · E · G | 1× |
| 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 31 times in total; 3 of them sit naturally inside the shared scale. The major V of Em brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from G, the same B is V/vi, a secondary dominant heading for Em.
Chord movement
- B Em GV/vi → vi EmV → iharmonic-minor cadence ×9
- Am B Gii → V/vi Emiv → Viv → V ×5
The move to watch is B → Em, heard 9 times. From the Em side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the G side it reads V/vi → 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 B, 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.
- When B comes, swap the scale's D for D#: that single note is the harmonic-minor sound of the chord.
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 Em lays a solid floor for everything that follows. Em, B, Am, C carry the song: vi–V/vi–ii–IV relative to G, i–V–iv–VI relative to Em. B is the interesting twist: in G it is a chromatic chord (V/vi), while in Em it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on B → Em (V/vi → vi in G, V → i in Em): harmonic-minor cadence — the major V resolves dramatically. The final chord is Em; the ear comes to rest in Em.
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.
Ayça Varlıer - Kumdan Kale 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: Figen ŞakacıMusic: Ayça Varlıer
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