Zara - İmdadım (Eypio) - Chord

Key G major – E minor Chords Bm, Em, C, Am Easy key C (capo 7)

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Capo 0

Em  Bm  C  Am  Bm

Em        Bm            C
Sen belalımsın, baş ağrımsın
         Am       Bm
Bekledim aylardır yoksun
    Em           Bm
Ama sen, göz ağrımdın
       C             Bm
Ve yarimdin, ve yarınlar gibi yoksun ama sen

Em
 Yolum dardır, son çağrım
Bm
 Sensin benim hükümdarım
C
 Yanar bağrım bu imtihanım
Am            Bm
 Duyulmadım o benim o imdadım

Em
 Yolum dardır, son çağrım
Bm
 Sensin benim de hükümdarım
C
 Yanar bağrım bu imtihanım
Bm
 Duyulmadım o benim o imdadım

Em             Bm               C
Düşerim yollarına, giremem kollarına
              Am               Bm
Saramam ellerimi, alamam ellerini avuçlarıma

Em            Bm                C
Savurup küllerimi onun yokuşlarına
           Bm                   Em
Yatarım yıllarca o nazlı bakışlarına

Em
Bilirim durumum arap
        Bm
Üzümü şarap yapan edim zahat
          C
Durumum rahat değil bu derdime kat
           Am                      Bm
Çıkıyorlar dedim sana her gün bu kağıt
          Em
Kapına da gelim sana yapım serenat
           Bm
Dedim sana aşkımızda yoktu bir hesap
        C
Olmasın nsat onların gözleri fesat
            Bm
Ya sev beni ya da kesip bir yerlere at

Em
 Yolum dardır, son çağrım
Bm
 Sensin benim hükümdarım
C
 Yanar bağrım bu imtihanım
Am            Bm
 Duyulmadım o benim o imdadım

Em
 Yolum dardır, son çağrım
Bm
 Sensin benim de hükümdarım
C
 Yanar bağrım bu imtihanım
Bm                         Em
 Duyulmadım o benim o imdadım

End of song Play again?

Zara - İmdadım (Eypio) Tabs

NotesX

Harmony analysis

Zara – İmdadım (Eypio): key and chord analysis

The song opens on Em and ends on Em. 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the E minor side because it both starts and finishes 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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	—
ii	Am	Supertonic — prepares the dominant	A · C · E	6×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	22×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	11×
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	—

Seen from E minor
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	6×
v	Bm	Minor dominant — soft pull	B · D · F#	22×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	11×
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). 4 different chords appear 52 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

Bm Em Giii → vi Emv → inatural-minor cadence ×11

The move to watch is Bm → Em, heard 11 times. From the Em side it is v → i (natural-minor cadence: gentle, modal arrival); from the G side it reads iii → 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 Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
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

5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

Starting on Em, the song gives away its key from the very first bar. Bm, Em, C, Am carry the song: iii–vi–IV–ii relative to G, v–i–VI–iv relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm → Em (iii → vi in G, v → i in Em): natural-minor cadence — gentle, modal arrival. The final chord is Em; the ear comes to rest in Em.

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.