Kalben - Yara - Chord

Key G major – E minor Chords Em, B7, C, Am7, Am, Cmaj7 Difficulty already in its easiest key

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Capo 0

                       Em
Karanlık bir yerde bul beni
                        Am
Kaybettiğim gün gibi bekliyorum
                   B7
Üstümde bir başkasının ceketi
Cmaj7        B7        Em
Yine de tanırsın biliyorum

                      Em
Tanıdık bir yerde bul beni
             Am    
Kuğulu’da da buluşalım
                    B7
Kalpsizin biri demişsin hani
Cmaj7         B7     Em
Bari yorgun dargın bakışalım

                  C
Sokaklarda ayak sesleri
                Em
Özlemek artık yasaktır
                C
Sildik hafızadan bizi
Am7      Am        Em
 Fotoğraflarımız kayıptır

                    C
Hiç anlatmadım sana oysa
                   Em
Daha çok hikayemiz varda
                 C
O gece sormuştun ya bana
Am7    B7          Em
Uzaklığın en büyük yaraydı

              C 
Yaraya gülümsedim her sabah
Am7     B7    Em
 Yarayı önemsedim
               C
Yarayı hazırladım gözlere
Am7     B7      Em
 Yarayı temizledim

              C
Yarayı büyütmedim hayalinde
Am7      B7     Em
 Kendimi küçümsedim
               C
Denize baktım ömürlerce
Am7     B7     Em
 Tuzunu ezberledim

               C
Yarayı öptüm ellerinden
Am7     B7   Em
 Yarayı dinledim
                  C
Benden onda da var dedi
Am7    B7    Em
 Yarasını sevdim

              C
Elini uzattın hep havada kalan
Am7   B7    Em
 En güzel hayalimiz
             C
Yaramızı unutturup
              Am7    B7       Em
Yarayı kapatan aşk yaradan da derin

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Kalben - Yara Tabs

NotesX

Harmony analysis

Kalben – Yara: 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)
#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 16 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.

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	3×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V7/vi	B7	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F# · A	13×
IV	C	Subdominant — moves away from home	C · E · G	12×
IVmaj7	Cmaj7	Subdominant — moves away from home	C · E · G · B	2×
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	16×
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	16×
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	3×
v	Bm	Minor dominant — soft pull	B · D · F#	—
V7	B7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F# · A	13×
VI	C	Submediant — warm colour	C · E · G	12×
VImaj7	Cmaj7	Submediant — warm colour	C · E · G · B	2×
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). 6 different chords appear 56 times in total; 5 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 B7 is V7/vi, a secondary dominant heading for Em.

Chord movement

B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×11
Am7 B7 Gii7 → V7/vi Emiv7 → V7iv → V ×9
Am B7 Gii → V7/vi Emiv → V7iv → V ×2
C Em GIV → vi EmVI → iVI → i ×2
Am Em Gii → vi Emiv → iminor plagal ×1

The move to watch is B7 → Em, heard 11 times. From the Em side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the G side it reads V7/vi → vi (secondary resolution: B7 resolves a fourth up to 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 B7, land on B, D#, F# — the chord's own tones always sound right on strong beats.
Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
When B7 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

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, B7, C, Am7; read them as vi–V7/vi–IV–ii7 in G or i–V7–VI–iv7 in Em. B7 is the interesting twist: in G it is a chromatic chord (V7/vi), while in Em it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on B7 → Em (V7/vi → vi in G, V7 → i in Em): harmonic-minor cadence — the major V resolves dramatically. It closes on Em, letting the Em 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.