Velet - Kaçar gibi (Veysel Mutlu) - Chord

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

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Capo 0

Bm           Em
Bu ara başıma bela yağar gibi
Bm           Em
Ateşim baruta harmanım pek kolay değil
Bm              Em
İsyanım var dağa taşa hesap sorar gibi
Bm               C
Kırılmış ayakları kaderim yeryüzünde

Bm             Em
Bu ara başımdan bela sarar beni
Bm             Em
Yoruldum gardaş bu yürek öyle taş değil
Bm                 Em
Vurulmuş kanatlarım süzülmüş dertlerime
Bm                 C
Dağılmnış hayatlatı yok garibin dermanı pek

Bm          Em                 Bm
Can evime koşar gibi, yüzüne susar gibi
       C            Bm             Em
Tenine değmesin el, yerin kulağına bas gülüm
        Bm           C
Oluruna bak ölümden öte yol bilinmez


Bm         Em         Bm          C
 Kaçar gibi, uzar gibi, masal gibi, yalana kandım ana
Bm          Em          Bm           C
 Ziyan ne ki, talan gibi, zarar yedim oyuna kandım anam

Bm                        C
Gel gidelim dedim burdada doğmadı günyüzü halen
Bm                      C
Ben karanlıktayım zaten gambazladı senin yüz ifaden
       Bm                      C                             Bm
Pişkin suratın en dibi düşmüş ben naptım niye bana küsmüş bilmem
                            C                             Bm
Onlar benim kalbimin morgunu görmeden kendilerini buz sanmış

Bm                                               C
Uyutmuyorsa seni geceler, o gece gel, yanıma gel, bırak bu tavırları
Bm                                      C
Gel beni vur bendeki suç ruhumu göklere sal benim artık
Bm                                                C
Ah edemem elime bak gidemem evime Talibi yak geri külleri kalsın
 
Bm         Em         Bm          C
 Kaçar gibi, uzar gibi, masal gibi, yalana kandım ana
Bm          Em          Bm           C
 Ziyan ne ki, talan gibi, zarar yedim oyuna kandım anam 
,

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Velet - Kaçar gibi (Veysel Mutlu) Tabs

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Harmony analysis

Velet – Kaçar gibi (Veysel Mutlu): key and chord analysis

The song opens on Bm and ends on C. 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 Em is heard 12 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	—
iii	Bm	Mediant — a tonic-family shade	B · D · F#	28×
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×
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	12×
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	12×
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	—
v	Bm	Minor dominant — soft pull	B · D · F#	28×
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×
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). 3 different chords appear 55 times in total; 3 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 ×12

The move to watch is Bm → Em, heard 12 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 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.
Over Em, land on E, G, B — 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

The first chord is Bm; the ear learns where home is within a second. The chords that keep coming back are Bm, C, Em; read them as iii–IV–vi in G or v–VI–i 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. Ending on C, 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.