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)
Hakan Kurtaş - Tesadüfen (Kalben) - Chord
Key G major – E minor Chords D#m, E, C#m, G#m7, G# Easy key Ab
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Key: G | Em
Capo: 0
D#m E D#m
Geceden sabaha çoktan geçti saat
E C#m D#m G#
Emin ol afiyete hevesli sıhhat
C#m
Çalsın arabesk kemanlar susmasın
D#m E
Sarmalansın buzlu anasonla acım
G#m7 D#m E C#m
Aç içimdeki sandıkları dök ortaya
D#m E C#m D#m
Kıy gitsin unut kimdim oku canıma
G#m7 D#m E C#m D#m E C#m D#m
D#m E D#m
Yıkandım geçmiyor al tenini beyim
E C#m D#m G#
Özledim dudaklarının şerbetini
C#m
Sussun arabesk kemanlar çalmasın
D#m E
Çabuk kabullenmiyor kalp üveyliğini
G#m7 D#m E C#m
Aç içimdeki sandıkları dök ortaya
D#m E C#m D#m
Kıy gitsin unut kimdim oku canıma
End of song Play again?
Hakan Kurtaş - Tesadüfen (Kalben) Tabs
NotesX
Harmony analysis
Hakan Kurtaş – Tesadüfen (Kalben): key and chord analysis
The song opens on D#m and ends on D#m. Its chords belong to both G major and Em, so every chord below is read both ways.
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: we can't honestly pick a side here — the song moves freely between G major and E minor. Try reading the chords both ways and see which feels more like home to you.
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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | — |
| bii7 | G#m7 | Chromatic colour chordoutside the key | G# · B · D# · F# | 3× |
| bII | G# | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | G# · B# · D# | 2× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | — |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | — |
| #iv | C#m | Chromatic colour chordoutside the key | C# · E · G# | 10× |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| bvi | D#m | Chromatic colour chordoutside the key | D# · F# · A# | 17× |
| vi | Em | Relative minor — the melancholy side | E · G · B | — |
| VI | E | Chromatic colour chordoutside the key | E · G# · B | 12× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | — |
| I | E | Chromatic colour chordoutside the key | E · G# · B | 12× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| #iii7 | G#m7 | Chromatic colour chordoutside the key | G# · B · D# · F# | 3× |
| #III | G# | Chromatic colour chordoutside the key | G# · B# · D# | 2× |
| iv | Am | Subdominant — moves away from home | A · C · E | — |
| 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# | — |
| VI | C | Submediant — warm colour | C · E · G | — |
| #vi | C#m | Chromatic colour chordoutside the key | C# · E · G# | 10× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | — |
| #vii | D#m | Chromatic colour chordoutside the key | D# · F# · A# | 17× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 44 times in total; 0 of them sit naturally inside the shared scale. G# is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 D#m, land on D#, F#, A# — the chord's own tones always sound right on strong beats.
- Over E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over C#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- On G#, follow the chord's notes (G# · B# · D#) 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
- 1 semitone up
- 4 semitones down · capo 4 keeps the original pitch
The song's harmonic story
The first chord is D#m; the ear learns where home is within a second. The backbone is D#m, E, C#m, G#m7 — bvi–VI–#iv–bii7 from the G side, #vii–I–#vi–#iii7 from the Em side. G# briefly darkens the picture: neapolitan bii — a dark, dramatic colour a half step above the tonic. Ending on D#m, 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.
Hakan Kurtaş - Tesadüfen (Kalben) Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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Lyrics: Hakan KurtaşMusic: Hakan Kurtaş
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