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)
Burak Bulut - İhanet - Chord
Key G major – E minor Chords Bm, Em, Cmaj7 Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em Em Bm Em Cmaj7 Bm
Em
Beni anlamaman tek mesele, hayatım bi' türlü girmiyo' düzene
Bm
Biraz olsun yürekli ol, hadi "Sevmiyorum seni" desene
Cmaj7
Fayda eder mi ki ecele yaralar, dün gibi doğsa da geceme?
Bm
Hayallerim göçebe, aşk bilmece gibi çözene, ah
Em
Müsaade et, yalan olurum, yüreğim, söyle, nedir? Alırım
Bm
Son nefesinde boğulurum, zaruriyim, ziyan olurum
Cmaj7
Katilim ama masumum, aşk tek gerçek kanunum
Bm
Üzgünüm seni üzdüğüm için, ihanetine mağdurum
Em
Bi' kеre eden bi' daha еder ihanet
Bm
Ama üzülme, anıların üstüne yaraları ilave et
Cmaj7
Ve gülümse, "Unuttum" de bana, "Unuttum, yalandı" de, inanırım
Bm
Bu kadar sevebildim, beni idare et
Em
Müsaade et, yalan olurum, yüreğim, söyle, nedir? Alırım
Bm
Son nefesinde boğulurum, zaruriyim, ziyan olurum
Cmaj7
Katilim ama masumum, aşk tek gerçek kanunum
Bm
Üzgünüm seni üzdüğüm için, ihanetine mağdurum
Em
Bi' kеre eden bi' daha еder ihanet
Bm
Ama üzülme, anıların üstüne yaraları ilave et
Cmaj7
Ve gülümse, "Unuttum" de bana, "Unuttum, yalandı" de, inanırım
Bm
Bu kadar sevebildim, beni idare et
End of song Play again?
Burak Bulut - İhanet Tabs
NotesX
Harmony analysis
Burak Bulut – İhanet: key and chord analysis
The song opens on Em and ends on Bm. 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 8 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# | 12× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IVmaj7 | Cmaj7 | Subdominant — moves away from home | C · E · G · B | 6× |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| vi | Em | Relative minor — the melancholy side | E · G · B | 8× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 8× |
| 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# | 12× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VImaj7 | Cmaj7 | Submediant — warm colour | C · E · G · B | 6× |
| 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). 3 different chords appear 26 times in total; 3 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 ×6
The move to watch is Bm → Em, heard 6 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 Cmaj7, 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
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The first chord is Em; the ear learns where home is within a second. The backbone is Bm, Em, Cmaj7 — iii–vi–IVmaj7 from the G side, v–i–VImaj7 from the Em side. 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. It closes on Bm, letting the G 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.
Burak Bulut - İhanet 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: Burak BulutMusic: Burak BulutArrangement: Efe Can
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