Ebru Gündeş - Araftayım - Chord

Key C major – A minor Chords Em7, Dm7, Fmaj7, G, Am, Am7 Difficulty already in its easiest key

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Capo 0

Em7
Bugün yaşıyorsam yarın beni vuracak
Dm7                    Em7
Aşk kokan yatağımın yalnız tarafı

Biliyorum susacak bir yerde haklılığım
Dm7                   Em7        G
Ben de hata yaptımlara bırakıp lafı

        Am                     Fmaj7
Ben sen yokken her yerde ya da hiçbir yerdeyim
      Em7
Merak edersen eğer neredeyim kiminleyim

     Dm7
Şimdilik araftayım, firardayım, hastayım
   Em7
Hatta kim bilir kaç bahar sonra iyileşir yürek
Am7                   Dm7         
Bir haftayım on günüm son günüm hatta
   Em7       Fmaj7    Dm7        Em7
Belki ölmek için bile yardımın gerek

End of song Play again?

Ebru Gündeş - Araftayım Tabs

NotesX

Harmony analysis

Ebru Gündeş – Araftayım: key and chord analysis

The song opens on Em7 and ends on Em7. Its chords belong to both C major and Am, so every chord below is read both ways.

Major view

C major

Brightness rank 2/7 (bright)

Characteristic notes

7 = B (leading tone, pulls home)
4 = F (the note that leans on the 3rd)

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the A minor side because Am is heard 2 times while C never appears. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	—
ii7	Dm7	Supertonic — prepares the dominant	D · F · A · C	5×
iii7	Em7	Mediant — a tonic-family shade	E · G · B · D	7×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IVmaj7	Fmaj7	Subdominant — moves away from home	F · A · C · E	2×
V	G	Dominant — strongest pull home	G · B · D	1×
vi	Am	Relative minor — the melancholy side	A · C · E	1×
vi7	Am7	Relative minor — the melancholy side	A · C · E · G	1×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	1×
i7	Am7	Tonic — home	A · C · E · G	1×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	—
iv7	Dm7	Subdominant — moves away from home	D · F · A · C	5×
v7	Em7	Minor dominant — soft pull	E · G · B · D	7×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VImaj7	Fmaj7	Submediant — warm colour	F · A · C · E	2×
VII	G	Subtonic — steps back to the tonic	G · B · D	1×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 6 different chords appear 17 times in total; 6 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

G Am CV → videceptive cadence AmVII → iAeolian arrival ×1
Em7 Am7 Ciii7 → vi7 Amv7 → i7natural-minor cadence ×1

The move to watch is G → Am, heard once. From the Am side it is VII → i (Aeolian arrival: rises a whole tone into home); from the C side it reads V → vi (deceptive cadence: expected C, lands on Am). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
Over Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
Over Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Fmaj7, land on F, A, C — 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 C major shapes

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm shapes

Easiest keys on guitar

The song is already written in its easiest key for guitar.

The song's harmonic story

The first chord is Em7; the ear learns where home is within a second. Em7, Dm7, Fmaj7, G carry the song: iii7–ii7–IVmaj7–V relative to C, v7–iv7–VImaj7–VII relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → Am (V → vi in C, VII → i in Am): Aeolian arrival — rises a whole tone into home. Ending on Em7, the song seals C 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.