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)
Pera - Zalim - Chord
Key G major – E minor Chords D, Am, Bm, C Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Am D Bm C Am D Am D Bm C
Am D
Bir dinle beni ne olur ne olur
Bm
Bir baksan yüzüme
C D
Ben ilkbahar olurum
Am D
Bir duysan sesimi ne olur ne olur
Bm C D
Sen yoksan ben hep sonbahar olurum
Am
Gecem günüm işim gücüm
D
Saçım başım dağınık
Bm
Akıl susar kalp konuşur
C D
Ve sana nasıl aşık
Am
Biraz sevinç biraz hüzün
D
Söyle nasıl bir ruh hali bu
Bm
Aşk bu neden hep karmaşık
C D
Sardı beni bu sarmaşık
Am D
Belki de başkasını seviyor
Bm C
Gözleri bir tek onu görüyor
Am D
Acısı da az deyip daha koyuyor
Bm C
Koyma zalim
Am D
Belki de başkasını seviyor
Bm C
Gözleri bir tek onu görüyor
Am D
Beni bana bırakıp da gidiyor
Bm C
Gitme zalim
Am D Bm C Am D Am D Bm C
End of song Play again?
Pera - Zalim Tabs
NotesX
Harmony analysis
Pera – Zalim: key and chord analysis
The song opens on Am and ends on C. Its chords belong to both G major and Em, so every chord below is read both ways.
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: we can't honestly pick a side here — the song moves freely between G major and E minor. Try reading the chords both ways and see which feels more like home to you.
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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 14× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 12× |
| III | B | Chromatic colour chordoutside the key | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 12× |
| V | D | Dominant — strongest pull home | D · F# · A | 18× |
| vi | Em | Relative minor — the melancholy side | E · G · B | — |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | — |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| iv | Am | Subdominant — moves away from home | A · C · E | 14× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 12× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 12× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 18× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 4 different chords appear 56 times in total; 4 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
- Am D Gii → Vii → V Emiv → VII ×14
- C D GIV → VIV → V EmVI → VIIVI → VII ×4
The move to watch is Am → D, heard 14 times. From the G side it reads ii → V (ii → V: the classic preparation of the dominant); from the Em side it is iv → VII. 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 D, land on D, F#, A — 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.
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 opening Am lays a solid floor for everything that follows. D, Am, Bm, C carry the song: V–ii–iii–IV relative to G, VII–iv–v–VI relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am → D (ii → V in G, iv → VII in Em): ii → V — the classic preparation of the dominant. Ending on C, 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.
Pera - Zalim Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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Lyrics: Gökhan MandırMusic: Gökhan MandırArrangement: Gökhan Mandır
Hakan Ünalan
Hakan Ünalan
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