Major view
B major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A# (leading tone, pulls home)
- 4 = E (the note that leans on the 3rd)
Badem - Kara Degil mi - Chord
Key B major – G# minor Chords E, F#, Bsus, B, G#m, F Easy key G (capo 4)
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Key: B | Abm | G#m
Capo: 0
G#m E Bsus F# G#m E Bsus F# E B F E B F G#m E Bana kara diyen dilber Bsus F# Gözlerin kara değil mi G#m E Yüzünü sevdiren gelin Bsus E Kaşların kara değil mi E Beni kara diye yerme Bsus F# Mevla'm yaratmış hor görme E Ala göze siyah sürme Bsus F# Çekilir kara değil mi G#m E Hindt'ten Yemen'den çekilir Bsus F# İner Bağdat'a dökülür G#m E Türlü taama ekilir Bsus F# Biberde kara değil mi E İllerde konup göçerler Bsus F# Lale sümbülü biçerler E Ağalar beyler içerler Bsus F# Kahve de kara değil mi E B F# Karac'oğlan der inşal lah E B F# Görenler desin maşal lah E B F# E Kara donlu beytulla a h E B F# Karac'oğlan der inşal lah E B F# Görenler desin maşal lah E Kara donlu Beytullah Bsus F# Örtüsü kara değil mi
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Badem - Kara Degil mi Tabs
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Harmony analysis
Badem – Kara Degil mi: key and chord analysis
The song opens on G#m and ends on F#. Its chords belong to both B major and G#m, so every chord below is read both ways.
Minor view
G# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = E (the minor's melancholy)
- b7 = F# (natural-minor colour)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between B major and G# minor because it opens on G#m and B is heard 18 times against 6 for G#m. Try reading the chords both ways and see which feels more like home to you.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to B or to G#m; 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 |
|---|---|---|---|---|
| Isus4 | Bsus | Tonic — home | B · E · F# | 11× |
| I | B | Tonic — home | B · D# · F# | 7× |
| ii | C#m | Supertonic — prepares the dominant | C# · E · G# | — |
| iii | D#m | Mediant — a tonic-family shade | D# · F# · A# | — |
| V/vi | D# | Secondary dominant V/vi — leads to G#msecondary dominant | D# · G · A# | — |
| IV | E | Subdominant — moves away from home | E · G# · B | 20× |
| #IV | F | Chromatic colour chordoutside the key | F · A · C | 2× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | 15× |
| vi | G#m | Relative minor — the melancholy side | G# · B · D# | 6× |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | G#m | Tonic — home | G# · B · D# | 6× |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| IIIsus4 | Bsus | Relative major — the bright side | B · E · F# | 11× |
| III | B | Relative major — the bright side | B · D# · F# | 7× |
| iv | C#m | Subdominant — moves away from home | C# · E · G# | — |
| v | D#m | Minor dominant — soft pull | D# · F# · A# | — |
| V | D# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D# · G · A# | — |
| VI | E | Submediant — warm colour | E · G# · B | 20× |
| #VI | F | Chromatic colour chordoutside the key | F · A · C | 2× |
| VII | F# | Subtonic — steps back to the tonic | F# · A# · C# | 15× |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 6 different chords appear 61 times in total; 5 of them sit naturally inside the shared scale. F step outside the scale as colour chords.
Chord movement
- E Bsus BIV → Isus4plagal cadence G#mVI → IIIsus4 ×11
- E B BIV → Iplagal cadence G#mVI → III ×7
- F# G#m BV → videceptive cadence G#mVII → iAeolian arrival ×4
The move to watch is E → Bsus, heard 11 times. From the B side it reads IV → Isus4 (plagal cadence: the soft 'amen' ending); from the G#m side it is VI → IIIsus4. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- B major pentatonic and G# minor pentatonic are the same five notes (B – C# – D# – F# – G#): start from B for a brighter phrase, from G# for a bluesier one.
- Over E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over F#, land on F#, A#, C# — the chord's own tones always sound right on strong beats.
- Over Bsus, land on B, E, F# — 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 B major shapes
- Capo 2 + A shapes
- Capo 4 + G shapes
- Capo 7 + E shapes
With G# minor shapes
- Capo 4 + Em shapes
- Capo 6 + Dm shapes
Easiest keys on guitar
- 4 semitones down · capo 4 keeps the original pitch
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The opening G#m lays a solid floor for everything that follows. E, F#, Bsus, B carry the song: IV–V–Isus4–I relative to B, VI–VII–IIIsus4–III relative to G#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on E → Bsus (IV → Isus4 in B, VI → IIIsus4 in G#m): plagal cadence — the soft 'amen' ending. Ending on F#, the song seals B as home.
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.
Badem - Kara Degil mi 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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