Can Bonomo - Kaçak - Chord

Key G major – E minor Chords Em, B, B7, G, F# Easy key F (capo 2)

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Capo 0

Em           B          Em
Çökmüş şehre bir karanlık
              B         Em
Bir yere gitmem ben artık
             B        Em
Kaçmak olmaz bu davadan
          B         Em
Mutlu olmak bedavadan

Em               B     Em
Özgürlüktür benim şarkım
               B      Em
Herkese söylemek hakkım
           B         Em
Sözüm sözden cayanlara
         B        Em
Özünde durmayanlara

Em               B
Kaçak kaçak nereden
Em              B
Bir çayımı içmeden
Em               B
Yol yollar hep uçsuzdur
    G                 F#
Polis suçsuzdur demeden

Em             B        Em
Kirlenmiş bomboş sokaklar
            B         Em
Etrafta zalim korkaklar
             B          Em
Gel sen de şaşma yönünden
          B          Em
Kaçma kaçılmaz ölümden

Em         B          Em
Gökler denizler aşkımız
         B           Em
Asla bölünmez şarkımız
        B            Em
Sözüm sözden cayanlara
         B        Em
Özünde durmayanlara

B7                  Em
Düşmanını aşkla oyala
B7            Em
Adalet yoksa, kaçma kovala

End of song Play again?

Can Bonomo - Kaçak Tabs

NotesX

Harmony analysis

Can Bonomo – Kaçak: 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 25 times against 1 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	1×
ii	Am	Supertonic — prepares the dominant	A · C · E	—
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	19×
V7/vi	B7	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F# · A	2×
IV	C	Subdominant — moves away from home	C · E · G	—
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	25×
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	25×
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	1×
iv	Am	Subdominant — moves away from home	A · C · E	—
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#	19×
V7	B7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F# · A	2×
VI	C	Submediant — warm colour	C · E · G	—
VII	D	Subtonic — steps back to the tonic	D · F# · A	—

Analysis

The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 48 times in total; 2 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 / B7 is V/vi, a secondary dominant heading for Em. F# acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

B Em GV/vi → vi EmV → iharmonic-minor cadence ×18
B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×2

The move to watch is B → Em, heard 18 times. From the Em side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the G side it reads V/vi → 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 B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
Over B7, 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

2 semitones down · capo 2 keeps the original pitch
5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

The opening Em lays a solid floor for everything that follows. Em, B, B7, G carry the song: vi–V/vi–V7/vi–I relative to G, i–V–V7–III 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 B → Em (V/vi → vi in G, V → i in Em): harmonic-minor cadence — the major V resolves dramatically. The final chord is Em; the ear comes to rest in Em.

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.