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)
Kurtuluş Kuş - Her Yanım Kan (Burak Bulut) - Chord
Key G major – E minor Chords Em, C Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Em C Em C
Em
Benimle kal desem yanımda ol desem
C
Sanırım vazgeçmem çekip de gitmesen
Em
Hayattan beklentim zaten kalmadı
C
Limansız gemi düşün aynı yerde sen ve ben
Em
Kaybolurum vibe'ından bak içimde kopuyor yangınlar
C
Konuşsam alev alır hayatım aptal gibi susarım saygımdan
Em
Geceleri inan ki kafam high gündüzleri bipolar kaygım var
C
Ortaya koydum canımı kalbime sormadan gelişine attım zar
Em
Hepinizden farkım var nirvanaya vardım bak
C
Çok düşünme hakkımda değerliyiz altından
Em
Düşmeyiz biz bu tahttan üşümeyiz kar kışta
C
İzleyin şimdi bizi sahnedeyiz alkışla
Em
Her yanım kan
C
Yok mu bi sesimi duyan
Em
Omzumda bu yükü taşımam
C
Kurban olurum gözüne kaşına
Em
Yavrum yavrum gel belam ol başıma
Em
Hayat bi bilet bi ceket bi fişek
Bi yanım temiz olsa da bi yanım keş
C
İşliyor kanıma hiç susmuyor leş
Bi sözüm yıkar hepinizi tek tek
Em
Ama mutluyum halimden
Tabi korkuyor katiller
C
Beni çözemiyor alimler
Hayat olmuyor adil her yanım kan
End of song Play again?
Kurtuluş Kuş - Her Yanım Kan (Burak Bulut) Tabs
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Harmony analysis
Kurtuluş Kuş – Her Yanım Kan (Burak Bulut): key and chord analysis
The song opens on Em 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: to us the song feels closer to the E minor side because it opens on Em and Em is heard 13 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | — |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 12× |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| vi | Em | Relative minor — the melancholy side | E · G · B | 13× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 13× |
| 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 | — |
| v | Bm | Minor dominant — soft pull | B · D · F# | — |
| 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 | — |
Analysis
The key pair is G major and its relative E minor (1 sharp). 2 different chords appear 25 times in total; 2 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
- C Em GIV → vi EmVI → iVI → i ×11
The move to watch is C → Em, heard 11 times. From the Em side it is VI → i (VI → i: falls a half step into home); from the G side it reads IV → 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 C, land on C, E, G — 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
Starting on Em, the song gives away its key from the very first bar. The chords that keep coming back are Em, C; read them as vi–IV in G or i–VI in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → Em (IV → vi in G, VI → i in Em): VI → i — falls a half step into home. 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.
Kurtuluş Kuş - Her Yanım Kan (Burak Bulut) 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: Kurtuluş Kuş, Burak Bulut, Eren Gürleyen, Abdullah ÇağınMusic: Kurtuluş Kuş, Burak Bulut, Eren Gürleyen, Abdullah ÇağınArrangement: Efe Can, Bahattin Ekinci
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