Zeynep Bastık - Araf (Hazal Kaya) - Chord

Key G major – E minor Chords Bm7, C, Em7, Am7, B7, D, A#, Gm … Easy key C (capo 7)

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Capo 0

Em7    C     Bm7     Am7
Kalbin işine bak yüzüne bakamaz
Em7  C    Bm7     B7
Ağğğlar durur sen uyurken
Em7    C    Bm7            Am7        B7
Yalnız olamayan böyle mi yapar dersen anlarım

Em7   C     Bm7     Am7
Aşkın içine bak, en güzeline
Em7     C     Bm7     B7
Hem var hem yok mu, bile bile
Em7  C      Bm7          Am7
Adaalet yok ya, canımı yakar bu sessizlik

       Bm7
Yerimi bilmem
   Am7
Bilmem ne taraftayım
       Bm7
Sesimi duymam
   Am7
Ne zamandır araftayım

Em7  C  Bm7  B7

Em7   C     Bm7     Am7
Aşkın içine bak, en güzeline
Em7     C     Bm7     B7
Hem var hem yok mu, bile bile
Em7  C      Bm7          Am7
Adaalet yok ya, canımı yakar bu sessizlik

D         A#         Gm         D#
Kimler varmış içimde yoklama yaptım
D             A#         Gm           D#
Deliler çıktı, cellatlar bir de şeytanlar

D         A#         Gm         D#
Kimler varmış içimde yoklama yaptım
D             A#         Gm           D#  Em  C  Bm  B7
Deliler çıktı, cellatlar bir de şeytanlaaaaaaaaaaaaaaaar

End of song Play again?

Zeynep Bastık - Araf (Hazal Kaya) Tabs

NotesX

Harmony analysis

Zeynep Bastık – Araf (Hazal Kaya): key and chord analysis

The song opens on Em7 and ends on B7. 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 opens on Em, Em is heard 11 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	—
i	Gm	Chromatic colour chordoutside the key	G · Bb · D	4×
ii7	Am7	Supertonic — prepares the dominant	A · C · E · G	8×
bIII	A#	Borrowed from the parallel minorborrowed chord	A# · D · E#	4×
iii7	Bm7	Mediant — a tonic-family shade	B · D · F# · A	12×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	1×
V7/vi	B7	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F# · A	6×
IV	C	Subdominant — moves away from home	C · E · G	11×
V	D	Dominant — strongest pull home	D · F# · A	4×
bVI	D#	Borrowed from the parallel minorborrowed chord	D# · G · A#	4×
vi7	Em7	Relative minor — the melancholy side	E · G · B · D	10×
vi	Em	Relative minor — the melancholy side	E · G · B	1×
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	10×
i	Em	Tonic — home	E · G · B	1×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	—
iii	Gm	Chromatic colour chordoutside the key	G · Bb · D	4×
iv7	Am7	Subdominant — moves away from home	A · C · E · G	8×
#IV	A#	Chromatic colour chordoutside the key	A# · D · E#	4×
v7	Bm7	Minor dominant — soft pull	B · D · F# · A	12×
v	Bm	Minor dominant — soft pull	B · D · F#	1×
V7	B7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F# · A	6×
VI	C	Submediant — warm colour	C · E · G	11×
VII	D	Subtonic — steps back to the tonic	D · F# · A	4×
#VII	D#	Chromatic colour chordoutside the key	D# · G · A#	4×

Analysis

The key pair is G major and its relative E minor (1 sharp). 11 different chords appear 65 times in total; 7 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. A#, D# are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

B7 Em7 GV7/vi → vi7secondary resolution EmV7 → i7harmonic-minor cadence ×5
Am7 Em7 Gii7 → vi7 Emiv7 → i7minor plagal ×4
Am7 B7 Gii7 → V7/vi Emiv7 → V7iv → V ×1
Am7 D Gii7 → Vii → V Emiv7 → VII ×1

The move to watch is B7 → Em7, heard 5 times. From the Em side it is V7 → i7 (harmonic-minor cadence: the major V resolves dramatically); from the G side it reads V7/vi → vi7 (secondary resolution: B7 resolves a fourth up to Em7). 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 C, land on C, E, G — the chord's own tones always sound right on strong beats.
Over Em7, land on E, G, B — 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.
On A#, follow the chord's notes (A# · D · 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

The first chord is Em7; the ear learns where home is within a second. The chords that keep coming back are Bm7, C, Em7, Am7; read them as iii7–IV–vi7–ii7 in G or v7–VI–i7–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 → Em7 (V7/vi → vi7 in G, V7 → i7 in Em): harmonic-minor cadence — the major V resolves dramatically. Ending on B7, the song seals G 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.