Teoman - Motosikletli Kız - Chord

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

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Capo 0

Em                                                    C
Motosikletli kız günlerdir seni bulmak için buralardayım
       Em
Sen yoksun
                                                     C
Motosikletli kız çatladı mı dudağın, avucun, yüzün yüreğin
         Em
Üşüyor musun

B
Kırık bir kalp elinde kala kala kala kala
Em                   Am
Bir karamel tadıysa dünya senin ağzında
D                 G        F#m
Gittikçe azalan her nefes aldığında
Em                   Am
Bir karamel tadıysa dünya senin ağzında
D                 G         F#m
Gittikçe azalan her kalbin atışında    

C                        Em
Sanki seni benim için yapmışlar
C                      Em
Sanki benim için yaratmışlar
C                          Em   C   B   C   B
Sanki seni benim için yapmışlar
             Em
Motosikletli kız

End of song Play again?

Teoman - Motosikletli Kız Tabs

NotesX

Harmony analysis

Teoman – Motosikletli Kız: 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.

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 both starts and finishes on Em, Em is heard 9 times against 2 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	2×
ii	Am	Supertonic — prepares the dominant	A · C · E	2×
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	7×
V	D	Dominant — strongest pull home	D · F# · A	2×
vi	Em	Relative minor — the melancholy side	E · G · B	9×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—
vii	F#m	Chromatic colour chordoutside the key	F# · A · C#	2×

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	9×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
ii	F#m	Chromatic colour chordoutside the key	F# · A · C#	2×
III	G	Relative major — the bright side	G · B · D	2×
iv	Am	Subdominant — moves away from home	A · C · E	2×
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	7×
VII	D	Subtonic — steps back to the tonic	D · F# · A	2×

Analysis

The key pair is G major and its relative E minor (1 sharp). 7 different chords appear 27 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. F#m step outside the scale as colour chords.

Chord movement

C Em GIV → vi EmVI → iVI → i ×5
B Em GV/vi → vi EmV → iharmonic-minor cadence ×2
D G GV → Iauthentic cadence EmVII → III ×2
Am D Gii → Vii → V Emiv → VII ×2

The move to watch is C → Em, heard 5 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 B, land on B, D#, F# — 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

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, B, Am carry the song: vi–IV–V/vi–ii relative to G, i–VI–V–iv relative to 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 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.