Fikri Karayel - Yol (Tolga Erzurumlu) - Chord

Key G major – E minor Chords Em, C, Am, Bm, Cm Difficulty already in its easiest key

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Capo 0

C  C  Em  Em

C
Bariz telaşım, saydam yaralarımla
   Em
Senden saklanmadım, yol arkadaşım
      C
Şimdi yollar daralır çıkmaz sokaklarında
Em
Tutma bırak içinde kalmayım

C
Geçiyor bir ömür, düşüne düşüne
                 Em
Kalmıyor hiç bir şey benden, yetmiyor birine
    C                                     Em
Biz hep sustuk, yol almadık ve öyle güzel kalmadık

Em
Tutmayın yol verin gidene gidene
C
Cevap da vermem artık gücüme gidene
Am
Yoktur tavsiyem bile beni kaybedene
C               Em
Doldu sığmaz içime

Em
Tutmayın yol verin gidene gidene
C
Cevap da vermem artık gücüme gidene
Am
Hiç mi soru sormadın yüzüne gülene
C               Em
Doldu sığmaz içime

Em  Em  C  C  Am  Am  C  Em

Em         C         Am          Bm
Alıştığım eziyetin felaket olsa nihayetinde
Em            Cm         Am       Bm
Elbet aşkla yıkanır kalp kendine ihanetinde

C                 Em
Yoldur bitmez gidene

End of song Play again?

Fikri Karayel - Yol (Tolga Erzurumlu) Tabs

NotesX

Harmony analysis

Fikri Karayel – Yol (Tolga Erzurumlu): key and chord analysis

The song opens on C 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the E minor side because it comes to rest on Em and Em is heard 16 times while G never appears. 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	6×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	2×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	15×
iv	Cm	Minor iv — borrowed from the parallel minorborrowed chord	C · Eb · G	1×
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	16×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	16×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	—
iv	Am	Subdominant — moves away from home	A · C · E	6×
v	Bm	Minor dominant — soft pull	B · D · F#	2×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	15×
vi	Cm	Chromatic colour chordoutside the key	C · Eb · G	1×
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 40 times in total; 4 of them sit naturally inside the shared scale. Cm is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

C Em GIV → vi EmVI → iVI → i ×9
Bm Em Giii → vi Emv → inatural-minor cadence ×1

The move to watch is C → Em, heard 9 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
On Cm, follow the chord's notes (C · Eb · G) 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

The first chord is C; the ear learns where home is within a second. The chords that keep coming back are Em, C, Am, Bm; read them as vi–IV–ii–iii in G or i–VI–iv–v in Em. Cm briefly darkens the picture: minor iv — borrowed from the parallel minor. Keep an ear on C → Em (IV → vi in G, VI → i in Em): VI → i — falls a half step into home. 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.