Zeynep Bastık - İnci Tanem - Chord

Key G major – E minor Chords Em, D, Am7, Bm7, Bm, C, Am, Dm7 … Difficulty already in its easiest key

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Capo 0

       Em    D        Em   D
Çaresizim mecbur bu veda
         Em          D         Em  Bm
Kokun üzerimde gidiyorum uzaklara
           Bm              Dm          Am
Sığınıp anılara bu hasrete dayanırız elbet
     C         Bm    Am    Em
Ümidimiz muradına erecek sabret

           Bm              Dm          Am
Sığınıp anılara bu hasrete dayanırız elbet
     C         Bm    Am    Em
Ümidimiz muradına erecek sabret

    Em    D          Em        D
Sabret sabret inci tanem bekle beni
      Em       D  Am7
Döneceğim mutlaka sabret
    Em     Bm7       Dm7        Am7
Ağlama ne olur vazgeçme bekle beni
      C        Bm7  Am7  Em 
Döneceğim mutlaka      sabret

    Em       D        Em          D
Vız gelir dağlar denizler yaban eller
     Em         D         Am7
Sevmeye engel değil mesafeler
    Em        Bm7       Dm7   Am7
Geçici bu ayrılık bir rüya farzet
     C          Bm7    Am7   Em
Sonunda zafer bizim olacak sabret

    Em        Bm7       Dm7   Am7
Geçici bu ayrılık bir rüya farzet
     C          Bm7    Am7   GEm
Sonunda zafer bizim olacak sabret

    Em    D          Em        D
Sabret sabret inci tanem bekle beni
      Em       D  Am7
Döneceğim mutlaka sabret
    Em     Bm7       Dm7        Am7
Ağlama ne olur vazgeçme bekle beni
      C        Bm7  Am7  Em 
Döneceğim mutlaka      sabret

End of song Play again?

Zeynep Bastık - İnci Tanem Tabs

NotesX

Harmony analysis

Zeynep Bastık – İnci Tanem: 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.

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 both starts and finishes on Em and Em is heard 22 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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	—
ii7	Am7	Supertonic — prepares the dominant	A · C · E · G	10×
ii	Am	Supertonic — prepares the dominant	A · C · E	4×
iii7	Bm7	Mediant — a tonic-family shade	B · D · F# · A	7×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	5×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	5×
V	D	Dominant — strongest pull home	D · F# · A	12×
v7	Dm7	Chromatic colour chordoutside the key	D · F · A · C	4×
v	Dm	Chromatic colour chordoutside the key	D · F · A	2×
vi	Em	Relative minor — the melancholy side	E · G · B	22×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	22×
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×
iv	Am	Subdominant — moves away from home	A · C · E	4×
v7	Bm7	Minor dominant — soft pull	B · D · F# · A	7×
v	Bm	Minor dominant — soft pull	B · D · F#	5×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	5×
VII	D	Subtonic — steps back to the tonic	D · F# · A	12×
vii7	Dm7	Chromatic colour chordoutside the key	D · F · A · C	4×
vii	Dm	Chromatic colour chordoutside the key	D · F · A	2×

Analysis

The key pair is G major and its relative E minor (1 sharp). 9 different chords appear 71 times in total; 7 of them sit naturally inside the shared scale. Dm7, Dm step outside the scale as colour chords.

Chord movement

D Em GV → videceptive cadence EmVII → iAeolian arrival ×9
Am7 Em Gii7 → vi Emiv7 → iminor plagal ×7
Am Em Gii → vi Emiv → iminor plagal ×2

The move to watch is D → Em, heard 9 times. From the Em side it is VII → i (Aeolian arrival: rises a whole tone into home); from the G side it reads V → vi (deceptive cadence: expected G, lands on Em). 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 D, land on D, F#, A — 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.

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 chords that keep coming back are Em, D, Am7, Bm7; read them as vi–V–ii7–iii7 in G or i–VII–iv7–v7 in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D → Em (V → vi in G, VII → i in Em): Aeolian arrival — rises a whole tone into home. 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.