Funda Arar - Armağansın (Akustik) - Chord

Key G major – E minor Chords Bm7, Am7, D, Em7, Cmaj7, C, Gmaj7, G Easy key C (capo 7)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Em7  Bm7  D  C  Am7  Bm7  Am7  Bm7

Em7
Tuttuğumda elini
D                C
Yürekte can sesi var
D       Em7    Am7
Gördüğümde yüzünü
    Bm7   Am7     Gmaj7
Ah, içime sarasım var

Bm7            Cmaj7
Ben senin aşkınla yandım
Am7         D
Dur, gözlerine daldım
G          Cmaj7
Bil, yarınıma ortak
G      Am7     Bm7
Muradı sende aldım

Em7
Öyle bir sevmişim

Gel de tarif et
D               Bm7
Sen bana armağansın
Cmaj7            D        Cmaj7
Yüzünden süzülse inan bir damla
Gmaj7    Am7     Bm7
Gönlümde çağlayansın


G akorunu G6sus2 olarak şu şekilde basabilirsiniz;
(Gmaj7 akorlarını değil sadece G akorlarını)

E--0---|
B--3---|
G--2---|
D--0---|
A--0---|
E--3---|

End of song Play again?

Funda Arar - Armağansın (Akustik) Tabs

NotesX

Harmony analysis

Funda Arar – Armağansın (Akustik): key and chord analysis

The song opens on Em7 and ends on Bm7. 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 it opens on 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.

Seen from G major
Degree	Chord	Role	Notes	In song
Imaj7	Gmaj7	Tonic — home	G · B · D · F#	2×
I	G	Tonic — home	G · B · D	2×
ii7	Am7	Supertonic — prepares the dominant	A · C · E · G	7×
iii7	Bm7	Mediant — a tonic-family shade	B · D · F# · A	8×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IVmaj7	Cmaj7	Subdominant — moves away from home	C · E · G · B	4×
IV	C	Subdominant — moves away from home	C · E · G	2×
V	D	Dominant — strongest pull home	D · F# · A	6×
vi7	Em7	Relative minor — the melancholy side	E · G · B · D	4×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i7	Em7	Tonic — home	E · G · B · D	4×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
IIImaj7	Gmaj7	Relative major — the bright side	G · B · D · F#	2×
III	G	Relative major — the bright side	G · B · D	2×
iv7	Am7	Subdominant — moves away from home	A · C · E · G	7×
v7	Bm7	Minor dominant — soft pull	B · D · F# · A	8×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VImaj7	Cmaj7	Submediant — warm colour	C · E · G · B	4×
VI	C	Submediant — warm colour	C · E · G	2×
VII	D	Subtonic — steps back to the tonic	D · F# · A	6×

Analysis

The key pair is G major and its relative E minor (1 sharp). 8 different chords appear 35 times in total; 8 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 ×2
D G GV → Iauthentic cadence EmVII → III ×1
D Em7 GV → vi7deceptive cadence EmVII → i7Aeolian arrival ×1
Cmaj7 G GIVmaj7 → Iplagal cadence EmVImaj7 → III ×1
Cmaj7 Gmaj7 GIVmaj7 → Imaj7plagal cadence EmVImaj7 → IIImaj7 ×1
C D GIV → VIV → V EmVI → VIIVI → VII ×1

The move to watch is Bm7 → Em7, heard 2 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 D, land on D, F#, A — 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 Em7; the ear learns where home is within a second. The chords that keep coming back are Bm7, Am7, D, Em7; read them as iii7–ii7–V–vi7 in G or v7–iv7–VII–i7 in 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 Bm7, 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.