Ayna - Arkadaş - Chord

Key G major – E minor Chords C, Em, Am, Bbm, C#, B, D, Fm … Difficulty already in its easiest key

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Capo 0

Em            C          Am             B
Bir kıvılcım düşer önce büyür yavaş, yavaş  
Am            Em              C         Em  
Bir bakarsın volkan olmuş yanmışsın arkadaş 

Em         C          Am           C 
Dolduramaz boşluğunu ne ana ne gardaş       
Am              D          C        Em
Bu en güzel bu en sıcak duygudur arkadaş    

D         F                C       Am
Ortak olmak her sevince her derde kedere    
C          D        Am         B
Ve yürümek ömür boyu beraberce el ele        

Em           C             Am           B
Olmasın hiç bu ta içten gülen gözlerde yaş  
Am            Em         C         Em  
Yollarımız ayrılsa bile seninle arkadaş  

Eb         F#            C#        Bbm
Ortak olmak her sevince her derde kedere    
C#          Eb        Bbm       C
Ve yürümek ömür boyu beraberce el ele       

Fm         C#         Bbm           C#
Olmayacak o ta içten gülen gözlerde yaş    
Bbm              Fm          Bbm       Fm 
Bir gün gelip ayrılsak bile seninle arkadaş

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Ayna - Arkadaş Tabs

NotesX

Harmony analysis

Ayna – Arkadaş: key and chord analysis

The song opens on Em and ends on Fm. 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 8 times while G never appears 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	—
ii	Am	Supertonic — prepares the dominant	A · C · E	8×
biii	Bbm	Chromatic colour chordoutside the key	Bb · Db · F	5×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	3×
IV	C	Subdominant — moves away from home	C · E · G	10×
#IV	C#	Chromatic colour chordoutside the key	C# · E# · G#	4×
V	D	Dominant — strongest pull home	D · F# · A	3×
bVI	Eb	Borrowed from the parallel minorborrowed chord	Eb · G · Bb	2×
vi	Em	Relative minor — the melancholy side	E · G · B	8×
bvii	Fm	Chromatic colour chordoutside the key	F · Ab · C	3×
bVII	F	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	F · A · C	1×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—
V/iii	F#	Secondary dominant V/iii — leads to Bmsecondary dominant	F# · A# · C#	1×

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	8×
bii	Fm	Chromatic colour chordoutside the key	F · Ab · C	3×
bII	F	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	F · A · C	1×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
V/v	F#	Secondary dominant V/v — leads to Bmsecondary dominant	F# · A# · C#	1×
III	G	Relative major — the bright side	G · B · D	—
iv	Am	Subdominant — moves away from home	A · C · E	8×
#iv	Bbm	Chromatic colour chordoutside the key	Bb · Db · F	5×
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#	3×
VI	C	Submediant — warm colour	C · E · G	10×
#VI	C#	Chromatic colour chordoutside the key	C# · E# · G#	4×
VII	D	Subtonic — steps back to the tonic	D · F# · A	3×
#VII	Eb	Chromatic colour chordoutside the key	Eb · G · Bb	2×

Analysis

The key pair is G major and its relative E minor (1 sharp). 11 different chords appear 48 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 B is V/vi, a secondary dominant heading for Em. F# acts as a secondary dominant, briefly pointing at another chord of the key. Eb, F are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Am B Gii → V/vi Emiv → Viv → V ×3
C Em GIV → vi EmVI → iVI → i ×3
Am Em Gii → vi Emiv → iminor plagal ×2
B Em GV/vi → vi EmV → iharmonic-minor cadence ×1
Am D Gii → Vii → V Emiv → VII ×1
C D GIV → VIV → V EmVI → VIIVI → VII ×1

The move to watch is Am → B, heard 3 times. From the Em side it is iv → V (iv → V: the minor side's tension builder); from the G side it reads ii → V/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 C, land on C, E, G — 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 Am, land on A, C, E — 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.
On Eb, follow the chord's notes (Eb · G · Bb) rather than the key's scale — it's a borrowed colour.

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. The chords that keep coming back are C, Em, Am, Bbm; read them as IV–vi–ii–biii in G or VI–i–iv–#iv in Em. 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 → B (ii → V/vi in G, iv → V in Em): iv → V — the minor side's tension builder. The final chord is Fm; 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.