Tarkan - Gülümse Kaderine - Chord

Key G major – E minor Chords Em, Bm, C, D, Am Easy key C (capo 7)

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Capo 0

Em
Değer mi hiç?
Bm  Em         Bm     Em
Boş yere küsme düşlerine
Em          Bm     Em
İnan onunda yanına kalmaz
Em       Bm      Em
Bırak gitsin üzülme
Em    C         Bm    Em
Hayat sevenleri korur ateşe atmaz
Em      Bm    Em
Gülümse kaderine
 
Em                                   D      
Yak bütün fotoğrafları ona ait bütün eşyaları
                   C                         
Bu gece ümitlerini al koynuna                
Am                D        Bm                
Gün doğmadan unut insafsısızı                
 
C    Em  Am Bm 
Ooo ooo      unut insafsızı 
 
Em
Kader buluşturdu
Bm       Em      Bm       Em
Kader ayıtdı o aşka inanmadı
Em                Bm        Em
Sil göz yaşlarını sakın ağlama
Em   Bm       Em
O aşkınla oynadı
Em    C         Bm     Em
Hayat sevenleri korur ateşe atmaz
Em      Bm       Em
Gülüm sana kıyamadı

End of song Play again?

Tarkan - Gülümse Kaderine Tabs

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Harmony analysis

Tarkan – Gülümse Kaderine: 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)

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 and Em is heard 24 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	2×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	14×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	4×
V	D	Dominant — strongest pull home	D · F# · A	2×
vi	Em	Relative minor — the melancholy side	E · G · B	24×
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	24×
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	2×
v	Bm	Minor dominant — soft pull	B · D · F#	14×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	4×
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). 5 different chords appear 46 times in total; 5 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

Bm Em Giii → vi Emv → inatural-minor cadence ×13
Am D Gii → Vii → V Emiv → VII ×1
C Em GIV → vi EmVI → iVI → i ×1

The move to watch is Bm → Em, heard 13 times. From the Em side it is v → i (natural-minor cadence: gentle, modal arrival); from the G side it reads iii → 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 Bm, land on B, D, F# — 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.

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

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. The chords that keep coming back are Em, Bm, C, D; read them as vi–iii–IV–V in G or i–v–VI–VII in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm → Em (iii → vi in G, v → i in Em): natural-minor cadence — gentle, modal arrival. 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.