Ali Baran - Karadır Kaşların - Chord

Key G major – E minor Chords Asus2, Bm, G, Em, D Easy key C (capo 7)

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Capo 0

Bm  D  Em  Asus2  G  Asus2  G  Asus2  Bm

Bm         D     Asus2
Karadır kaşların ferman yazdırır
Em                 Asus2      Em
Bu dert beni diyar diyar gezdirir

Bm           D     Asus2
Lokman hekim gelse yaram aldırır
G         Asus2  G      Asus2  Bm
Yaramı sarmaya   yar kendi  gelsin

Bm         D          Em     Asus2
Ormanların gümbürtüsü başıma vurur
G           Asus2  G    Asus2  Bm
Nazlı yarin hayali karşımda  durur

Bm          D     Em     Asus2
Ormanlardan aşağı aşar giderim
G          Asus2     G     Asus2  Bm
Nazlı yari kaybettim ağlar gezeeerim

Bm  D  Em  Asus2  G  Asus2  G  Asus2  Bm

Bm         D     Asus2
Karadır kaşların benzer kömüre
Em               Asus2    Em
Yardan ayrılması zarar ömüre

Bm          D          Em          Asus2
Kollarımdan bağlasalar vursalar zincire
G          Asus2  G   Asus2  Bm 
Kırarım zinciri   giderim  yare

Bm         D          Em     Asus2
Ormanların gümbürtüsü başıma vurur
G           Asus2  G    Asus2  Bm
Nazlı yarin hayali karşımda  durur

Bm          D     Em     Asus2
Ormanlardan aşağı aşar giderim
G          Asus2     G     Asus2  Bm
Nazlı yari kaybettim ağlar gezeeerim

End of song Play again?

Ali Baran - Karadır Kaşların Tabs

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Harmony analysis

Ali Baran – Karadır Kaşların: key and chord analysis

The song opens on Bm and ends on Bm. 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 G major side because G is heard 16 times against 11 for Em. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.

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	16×
IIsus2	Asus2	Supertonic — prepares the dominant	A · B · E	28×
ii	Am	Supertonic — prepares the dominant	A · C · E	—
iii	Bm	Mediant — a tonic-family shade	B · D · F#	18×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	—
V	D	Dominant — strongest pull home	D · F# · A	10×
vi	Em	Relative minor — the melancholy side	E · G · B	11×
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	11×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	16×
IVsus2	Asus2	Subdominant — moves away from home	A · B · E	28×
iv	Am	Subdominant — moves away from home	A · C · E	—
v	Bm	Minor dominant — soft pull	B · D · F#	18×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	—
VII	D	Subtonic — steps back to the tonic	D · F# · A	10×

Analysis

The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 83 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

D Em GV → videceptive cadence EmVII → iAeolian arrival ×7

The move to watch is D → Em, heard 7 times. From the G side it reads V → vi (deceptive cadence: expected G, lands on Em); from the Em side it is VII → i (Aeolian arrival: rises a whole tone into home). 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 Asus2, land on A, B, E — 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 G, land on G, B, D — 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
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

Starting on Bm, the song gives away its key from the very first bar. Asus2, Bm, G, Em carry the song: IIsus2–iii–I–vi relative to G, IVsus2–v–III–i relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D → Em (V → vi in G, VII → i in Em): deceptive cadence — expected G, lands on Em. Ending on Bm, the song seals G 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.