Duman - Kamikaze - Chord

Key G major – E minor Chords Em, D, Am, B7, G Easy key C (capo 7)

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Capo 0

Em               D
Gözleri gözüme değer
                    Am
Bir tebessüm eder o an
                 Em    B7
Böyle bir gülüşü asla unutmam

Em              D
Bu kıvılcım bu ateş
               Am
Düştüğü yeri yakar
                 Em          B7
Alevler arasında aşk var hep aşk

G
Dalalım ölümüne dalalım kamikaze gibiyiz

Yanalım ölümüne yanalım öylesine deliyiz

Düşelim uçurumdan aşağı aşkımızın içine

Güzelim tut elimi dönelim ferhat ile şirin'e

Em            D
Elini uzat elime
                 Am
Yeniden doğarım inan
                Em     B7
Sarsam o belini asla bırakmam

Em                  D
Gel iyice sokul yanıma
              Am
Yüzüne geldi bahar
                    Em          B7
Senin de gözlerinde aşk var hep aşk

G
Dalalım ölümüne dalalım kamikaze gibiyiz

Yanalım ölümüne yanalım öylesine deliyiz

Düşelim uçurumdan aşağı aşkımızın içine

Güzelim tut elimi dönelim ferhat ile şirin'e

Em             D
El ele daldık içine
                Am
Öyle büyülü bir an
                  Em    B7
Sanki bir rüya bu asla uyanmam

Em                 D
Her gün ayrı bir zafer
                Am
Sonunu görene kadar
                  Em         B7
Artık her adımda aşk var hep aşk

End of song Play again?

Duman - Kamikaze Tabs

NotesX

Harmony analysis

Duman – Kamikaze: key and chord analysis

The song opens on Em and ends on B7. 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)
#7 = D# (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 E minor side because it opens on Em, Em is heard 12 times against 2 for G and the major V chord points straight at Em. 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	2×
ii	Am	Supertonic — prepares the dominant	A · C · E	6×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V7/vi	B7	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F# · A	6×
IV	C	Subdominant — moves away from home	C · E · G	—
V	D	Dominant — strongest pull home	D · F# · A	6×
vi	Em	Relative minor — the melancholy side	E · G · B	12×
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	12×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	2×
iv	Am	Subdominant — moves away from home	A · C · E	6×
v	Bm	Minor dominant — soft pull	B · D · F#	—
V7	B7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F# · A	6×
VI	C	Submediant — warm colour	C · E · G	—
VII	D	Subtonic — steps back to the tonic	D · F# · A	6×

Analysis

The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 32 times in total; 4 of them sit naturally inside the shared scale. The major V of Em brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from G, the same B7 is V7/vi, a secondary dominant heading for Em.

Chord movement

Am Em Gii → vi Emiv → iminor plagal ×6
B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×3

The move to watch is Am → Em, heard 6 times. From the Em side it is iv → i (minor plagal: deep and melancholic); from the G side it reads ii → 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 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.
When B7 comes, swap the scale's D for D#: 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 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

The first chord is Em; the ear learns where home is within a second. The chords that keep coming back are Em, D, Am, B7; read them as vi–V–ii–V7/vi in G or i–VII–iv–V7 in Em. B7 is the interesting twist: in G it is a chromatic chord (V7/vi), while in Em it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Am → Em (ii → vi in G, iv → i in Em): minor plagal — deep and melancholic. The final chord is B7; the ear comes to rest in G.

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.