Simge - Ruhum Esirin (Çağrı Telkıvıran) - Chord

Key C major – A minor Chords Em, Dm, Am, F, Fmaj7, G Difficulty already in its easiest key

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Capo 0

Em               Dm
Hadi bi’ de bana bak
Em           Dm
Diye dolanıyorum buralarda
Em                Dm
Beni bi’ başıma bırakma
Em               Dm
Bi’ yere sığamıyorum bu hayatta

Em         Dm
Aaah, kime sorsam cevap verir
Em         Dm
Aaah, buza dönmüş kalbim erir
Em        Dm              Fmaj7
Aaah, buluşursak ruhum esirin

Am        Dm        Em
Elimi tutuyor musun yoksa
Am              Dm        Em
E bi’ bakıp çıkıyor musun aşka
Am            Dm       Em       Dm  Em  F  G   Am
Bu kadar da seven biri başka ne söy ler bundan sonra

Am        Dm        Em
Elimi tutuyor musun yoksa
Am              Dm        Em
E bi’ bakıp çıkıyor musun aşka
Am         Dm      Em     Dm  Em  F   G   F
Gideceksen gülme bana ben gül mem sen den sonra

Am  Am  Em  Dm

Em         Dm
Aaah, kime sorsam cevap verir
Em         Dm
Aaah, buza dönmüş kalbim erir
Em        Dm              Fmaj7
Aaah, buluşursak ruhum esirin

End of song Play again?

Simge - Ruhum Esirin (Çağrı Telkıvıran) Tabs

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Harmony analysis

Simge – Ruhum Esirin (Çağrı Telkıvıran): key and chord analysis

The song opens on Em and ends on Fmaj7. Its chords belong to both C major and Am, so every chord below is read both ways.

Major view

C major

Brightness rank 2/7 (bright)

Characteristic notes

7 = B (leading tone, pulls home)
4 = F (the note that leans on the 3rd)

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the A minor side because Am is heard 9 times while C never appears. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	—
ii	Dm	Supertonic — prepares the dominant	D · F · A	19×
iii	Em	Mediant — a tonic-family shade	E · G · B	19×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	3×
IVmaj7	Fmaj7	Subdominant — moves away from home	F · A · C · E	2×
V	G	Dominant — strongest pull home	G · B · D	2×
vi	Am	Relative minor — the melancholy side	A · C · E	9×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	9×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	—
iv	Dm	Subdominant — moves away from home	D · F · A	19×
v	Em	Minor dominant — soft pull	E · G · B	19×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	3×
VImaj7	Fmaj7	Submediant — warm colour	F · A · C · E	2×
VII	G	Subtonic — steps back to the tonic	G · B · D	2×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 54 times in total; 6 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

Em Am Ciii → vi Amv → inatural-minor cadence ×4
F G CIV → VIV → V AmVI → VIIVI → VII ×2
G Am CV → videceptive cadence AmVII → iAeolian arrival ×1
Fmaj7 Am CIVmaj7 → vi AmVImaj7 → iVI → i ×1
F Am CIV → vi AmVI → iVI → i ×1

The move to watch is Em → Am, heard 4 times. From the Am side it is v → i (natural-minor cadence: gentle, modal arrival); from the C side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
Over Dm, 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.

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 C major shapes

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm 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 backbone is Em, Dm, Am, F — iii–ii–vi–IV from the C side, v–iv–i–VI from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em → Am (iii → vi in C, v → i in Am): natural-minor cadence — gentle, modal arrival. It closes on Fmaj7, letting the C 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.