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)
Bulutsuzluk Özlemi - Bağdat Kafe - Chord
Key G major – E minor Chords Em, C, D, G, Am Difficulty already in its easiest key
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Key: G | Em
Capo: 0
Em C
Yolumuz uzun yavrum, sen Leyla ben Mecnun
Em C
Maksat Bağdat, Babil’in kulesi
Em G
En kolay yol çöl, en kestirme
Am D
Lakin yaşlı kahin der, dur gitme
G Am D Em
Orda taş üstünde taş, omuz üstünde baş kalmadı
Em C
Fırtınadan kumlar, içimize sızar
Em C
Çöl rüzgarı yüzümüzü kavurur, dudaklarımız çatlar
Em G
Serap görür, gönlüm mü avunur? şu gelen yarim mi?
Am D
Göster yolu kahin, çok yorgunum
G Am
Bekler o şimdi beni, çok geç kaldım
D Em
Buluşmam lazım, Bağdat Kafe’de
D Em C Em
Bağdat Kafeeeeeee, varamadım hala
Em C
Gittik mi gidebildik mi? yoksa kaybolduk mu?
Em C
Gördüklerimiz neydi, büyülendik mi?
Em G
Yolun sonu neresi, hani kent nerde?
Am D
Göster yolu kahin, çok yorgunum
G Am
Bekler o şimdi beni, çok geç kaldım
D Em
Buluşmam lazım, Bağdat Kafe’de
D Em C Em
Bağdat Kafeeeeeee, varamadım hala
C Em
Ordaaaaaa “buluşamadıktan sonra”
C Em
Duruyor mu hala?
C Em
Ordaaaaaaa
C Em
Duruyor mu hala?
Em
Bağdat Kafe
End of song Play again?
Bulutsuzluk Özlemi - Bağdat Kafe Tabs
NotesX
Harmony analysis
Bulutsuzluk Özlemi – Bağdat Kafe: 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.
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 21 times against 6 for G. 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 | 6× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 6× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 12× |
| V | D | Dominant — strongest pull home | D · F# · A | 8× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 21× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 21× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 6× |
| iv | Am | Subdominant — moves away from home | A · C · E | 6× |
| v | Bm | Minor dominant — soft pull | B · D · F# | — |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 12× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 8× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 53 times in total; 5 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
- C Em GIV → vi EmVI → iVI → i ×12
- Am D Gii → Vii → V Emiv → VII ×6
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×5
- D G GV → Iauthentic cadence EmVII → III ×3
The move to watch is C → Em, heard 12 times. From the Em side it is VI → i (VI → i: falls a half step into home); from the G side it reads IV → 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 C, land on C, E, G — 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.
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
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. Em, C, D, G carry the song: vi–IV–V–I relative to G, i–VI–VII–III relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → Em (IV → vi in G, VI → i in Em): VI → i — falls a half step into home. It closes on Em, letting the Em 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.
Bulutsuzluk Özlemi - Bağdat Kafe 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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