Can Bonomo - Kara Konular - Chord

Key Bb major – G minor Chords Gm, Cm, D7, D, Eb Easy key C

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Capo 0

Cm  Gm  D7  D7

   Gm                        Cm
Yıllar sonra çocuk olsam bir aynada
       Gm                     D
Baksam aynı mı, o da görse şu halimi
Cm             Gm
Arasam tarasam neydi hatalarım
Cm                       Gm
Sanki bugünde yaşasam tekrar tekrarlarım

Gm                               Cm
Daha iyi günlerim oldu mu, bence olmadı
           Gm
Aynam bile küs bana
    D7
Her şey engel tutunmama

         Cm           Gm                 D7
Kara konular böyle üşüşüyor üşüşüyor tepeme
               Cm                       Gm              D7
Kafamdaki bulutlar ondan plastikten umutlar gibi türüyorlar
         Cm           Gm                D7
Kırık anılar birden düşüyor düşüyor üstüme
              Cm
Elimdeki kesikler ondan
               Gm              D7
Geçmişten kesitler gibi kanıyorlar

      Cm      Eb            D7
Öp geçsin kanayacak çok şey var
        Cm       Eb            D7
Dur gençsin, yaşayacak çok şey var

Gm                           Cm             Gm
Yıllar sonra çocuk olsam bir aynada, gülsem aniden
           D
Ilımlı bir maziden
Cm             Gm
Arasam tarasam neydi günahlarım
Cm                            Gm
Çatal dilim, güzel sözüm ve diğer silahlarım

Gm                              Cm
Günaydın bugün iyi miyim, henüz aymadım
             Gm
Dün nasılsam aynıyım
      D7
Kendimden bir hayli uzaktayım

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Can Bonomo - Kara Konular Tabs

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Harmony analysis

Can Bonomo – Kara Konular: key and chord analysis

The song opens on Cm and ends on D7. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

Major view

Bb major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

G minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Eb (the minor's melancholy)
b7 = F (natural-minor colour)
#7 = F# (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 G minor side because Gm is heard 17 times while Bb never appears and the major V chord points straight at Gm. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	—
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	15×
iii	Dm	Mediant — a tonic-family shade	D · F · A	—
V7/vi	D7	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A · C	10×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	2×
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	2×
V	F	Dominant — strongest pull home	F · A · C	—
vi	Gm	Relative minor — the melancholy side	G · Bb · D	17×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	17×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	—
iv	Cm	Subdominant — moves away from home	C · Eb · G	15×
v	Dm	Minor dominant — soft pull	D · F · A	—
V7	D7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A · C	10×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	2×
VI	Eb	Submediant — warm colour	Eb · G · Bb	2×
VII	F	Subtonic — steps back to the tonic	F · A · C	—

Analysis

The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 46 times in total; 3 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D7 / D is V7/vi, a secondary dominant heading for Gm.

Chord movement

Cm Gm Bbii → vi Gmiv → iminor plagal ×13
D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×2

The move to watch is Cm → Gm, heard 13 times. From the Gm side it is iv → i (minor plagal: deep and melancholic); from the Bb side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over D7, land on D, F#, A — the chord's own tones always sound right on strong beats.
When D7 comes, swap the scale's F for F#: that single note is the harmonic-minor sound of the chord.

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 Bb major shapes

Capo 1 + A shapes
Capo 3 + G shapes
Capo 6 + E shapes

With G minor shapes

Capo 3 + Em shapes
Capo 5 + Dm shapes

Easiest keys on guitar

2 semitones up
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

Starting on Cm, the song gives away its key from the very first bar. The backbone is Gm, Cm, D7, D — vi–ii–V7/vi–V/vi from the Bb side, i–iv–V7–V from the Gm side. D7 is the interesting twist: in Bb it is a chromatic chord (V7/vi), while in Gm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Cm → Gm (ii → vi in Bb, iv → i in Gm): minor plagal — deep and melancholic. Ending on D7, the song seals Bb 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.