Duman - Bu Aşk Beni Yorar - Chord

Key G major – E minor Chords Em, Am, Bm, F#m, G, Fmaj7 Easy key C (capo 7)

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Capo 0

Em  G  Am  Fmaj7

Em       Bm
 Şarkılar o şarkılar
F#m          Am
 Övünmek zor, ölüm çok zor
Em         Bm
 O an gelir sancılar
F#m           Am
 Dayanmak zor, durulmaz
 
Em             G
Ellerimde kan, dilimden akar
Am              Fmaj7
Kime ne, banane, bu aşk beni yorar

Em       Bm
 Sayfalar o sayfalar
F#m          Am
 Kapanmazlar, silinmezler
Em          Bm
 Her an içimi parçalar
F#m         Am
 Okunmazlar, yakışmazlar

End of song Play again?

Duman - Bu Aşk Beni Yorar Tabs

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Harmony analysis

Duman – Bu Aşk Beni Yorar: key and chord analysis

The song opens on Em and ends on Am. 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 and Em is heard 6 times against 2 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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	2×
ii	Am	Supertonic — prepares the dominant	A · C · E	6×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	4×
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	—
vi	Em	Relative minor — the melancholy side	E · G · B	6×
bVIImaj7	Fmaj7	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	F · A · C · E	2×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—
vii	F#m	Chromatic colour chordoutside the key	F# · A · C#	4×

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	6×
bIImaj7	Fmaj7	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	F · A · C · E	2×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
ii	F#m	Chromatic colour chordoutside the key	F# · A · C#	4×
III	G	Relative major — the bright side	G · B · D	2×
iv	Am	Subdominant — moves away from home	A · C · E	6×
v	Bm	Minor dominant — soft pull	B · D · F#	4×
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	—

Analysis

The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 24 times in total; 4 of them sit naturally inside the shared scale. Fmaj7 is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Am Em Gii → vi Emiv → iminor plagal ×3

The move to watch is Am → Em, heard 3 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 Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
On Fmaj7, follow the chord's notes (F · A · C · E) rather than the key's scale — it's a borrowed colour.

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

Starting on Em, the song gives away its key from the very first bar. The chords that keep coming back are Em, Am, Bm, F#m; read them as vi–ii–iii–vii in G or i–iv–v–ii in Em. Fmaj7 briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on Am → Em (ii → vi in G, iv → i in Em): minor plagal — deep and melancholic. The final chord is Am; the ear comes to rest in G.

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.