Kalben - Fırtınalar - Chord

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

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Capo 0

G     Em     Am     D 

G     Em     Am  D         G    Em   Am   D 
Sana benziyor    sevdiğim herkes
G       Em        Am   D    G   Em   Am   D 
Başıma gelmedi böylesi bir kez
G         Em         Am      D 
Zannettiklerim oldu, inandıklarım
G         Em              Am        D 
Anlattıklarım vardı ve de anladıklarım
G         Em              Am           D 
Aradım, ararken bir anda bulduklarım oldu
G    Em    Am    D   Am   D
Ama sen hiç yoktun

B
O güzel yüzü görmek için uyanıp gece yarısı
C                                Am       B
Susuz kalmış dudakları aralanır hemen arası
C      
Ya bana gülümser ya da bir şey der
Am
Yaşıyorsak eğer
C
Yaşıyorsak eğer
Am                  B
Böyle yaşamak her şeye bedel

Em
Senden başkası kimmiş, neymiş bilmiyorum
Am
Birileri zile basmış yok ben duymuyorum
D                       C                Em
Fırtına çıkmış göğsünde dinliyorum seni sevgilim

Em
Büyük aşklar hep bitermiş, tamam korkmuyorum 
Am
Atlarıyla gel diyordu ben gitmiyorum
D
Soruları sorunlara çarptım 
C
Sana bölmüyorum beni 
     Em   B    C    B       Em B  C B Em
Sevgilim, sevgilim,   sevgilim

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Kalben - Fırtınalar Tabs

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Harmony analysis

Kalben – Fırtınalar: key and chord analysis

The song opens on G 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)
#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 comes to rest on Em, it opens on G, Em is heard 15 times against 9 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	9×
ii	Am	Supertonic — prepares the dominant	A · C · E	15×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	7×
IV	C	Subdominant — moves away from home	C · E · G	7×
V	D	Dominant — strongest pull home	D · F# · A	12×
vi	Em	Relative minor — the melancholy side	E · G · B	15×
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	15×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	9×
iv	Am	Subdominant — moves away from home	A · C · E	15×
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#	7×
VI	C	Submediant — warm colour	C · E · G	7×
VII	D	Subtonic — steps back to the tonic	D · F# · A	12×

Analysis

The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 65 times in total; 5 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 B is V/vi, a secondary dominant heading for Em.

Chord movement

Am D Gii → Vii → V Emiv → VII ×12
D G GV → Iauthentic cadence EmVII → III ×8
B Em GV/vi → vi EmV → iharmonic-minor cadence ×3
Am B Gii → V/vi Emiv → Viv → V ×2
C Em GIV → vi EmVI → iVI → i ×2

The move to watch is Am → D, heard 12 times. From the Em side it is iv → VII; from the G side it reads ii → V (ii → V: the classic preparation of the dominant). 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 Am, land on A, C, E — 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.
When B 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 G; the ear learns where home is within a second. The backbone is Em, Am, D, G — vi–ii–V–I from the G side, i–iv–VII–III from the Em side. B is the interesting twist: in G it is a chromatic chord (V/vi), while in Em it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Am → D (ii → V in G, iv → VII in Em): ii → V — the classic preparation of the dominant. 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.