Volkan Konak - Yarim Yarim - Chord

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

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Em                             B 
Sevdan ile düştüm yaban ellere
Em                            B
Dalıp çıktım ateşlere küllere
Em                               B
Giyin demir çarık gel ardım sıra
Am        Bb       B 
Dağlara yollara çöllere

B                         C         B
Diyardan diyara bir yol, sor beni yarim yarim
           Am                      B
Bul beni yarim yarim, gör beni  yarim yarim
C         B
Ah beni beni  
B                      C          B
Sen kalem ol ben de kağıt, yaz beni yarim yarim
           Am                     B
Çiz beni yarim yarim, çöz beni yarim yarim
C        B
Ah beni beni

Em                              B
Kurban olam mızrap tutan ellere
Em                              B
Yanık yanık türkü diyen dillere
Em                               B
Dertli dertli name çalan tellere
Am        Bb       B 
Dağlara yollara çöllere

End of song Play again?

Volkan Konak - Yarim Yarim Tabs

NotesX

Harmony analysis

Volkan Konak – Yarim Yarim: key and chord analysis

The song opens on Em and ends on B. 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 opens on Em, Em is heard 6 times while G never appears 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	—
ii	Am	Supertonic — prepares the dominant	A · C · E	4×
bIII	Bb	Borrowed from the parallel minorborrowed chord	Bb · D · F	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#	16×
IV	C	Subdominant — moves away from home	C · E · G	4×
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	6×
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	6×
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	4×
#IV	Bb	Chromatic colour chordoutside the key	Bb · D · F	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#	16×
VI	C	Submediant — warm colour	C · E · G	4×
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 32 times in total; 3 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. Bb is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

B Em GV/vi → vi EmV → iharmonic-minor cadence ×5
Am B Gii → V/vi Emiv → Viv → V ×2

The move to watch is B → Em, heard 5 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 B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
Over Em, land on E, G, B — 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.
When B comes, swap the scale's D for D#: that single note is the harmonic-minor sound of the chord.
On Bb, follow the chord's notes (Bb · D · F) 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

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 backbone is B, Em, Am, C — V/vi–vi–ii–IV from the G side, V–i–iv–VI from the Em side. 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. It closes on B, letting the G 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.