Duman - Sarhoş - Chord

Key G major – E minor Chords B7, A, E, G#m, Em, F#, C7, D#dim … Easy key F (capo 2)

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Capo 0

E  B7  B7  E  E  B7  B7  E

A           B7
Keyfim kaçar ben kaçırmam
G#m        A
Elimde olsa hiç takılmam
             B7
Yalancı dünya kaygılanmam
G#m          A
Kederle dolsa da yıkılmam
F#           A
Hayale daldım hiç uyanmam
B7        C7
Harcandım harman kaldım
B7            E     D#dim
Gündüz soldum akşam açtım

Em         B7
Haydi babam coş
             Em
Burada müzik hoş
E        B7
Gerisi bomboş
            Em  C   B  G
Olalım yine sar sar sarhoş

A         B7
Onlar üzer ben üzülmem
G#m        A
Elimde olsa hiç düşünmem
            B7
Ölümlü dünya derde girmem
G#m          A
Sevince boğsa da değişmem
F#           A
Hayale daldım hiç uyanmam
B7        C7
Harcandım harman kaldım
B7            E     D#dim
Gündüz soldum akşam açtım

End of song Play again?

Duman - Sarhoş Tabs

NotesX

Harmony analysis

Duman – Sarhoş: key and chord analysis

The song opens on E and ends on D#dim. 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 Em is heard 3 times against 1 for G 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	1×
bii	G#m	Chromatic colour chordoutside the key	G# · B · D#	4×
ii	Am	Supertonic — prepares the dominant	A · C · E	—
II	A	Chromatic colour chordoutside the key	A · C# · E	8×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V7/vi	B7	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F# · A	14×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	1×
IV	C	Subdominant — moves away from home	C · E · G	1×
IV7	C7	Chromatic colour chordoutside the key	C · E · G · Bb	2×
V	D	Dominant — strongest pull home	D · F# · A	—
vii°/vi	D#dim	Secondary leading-tone chord vii°/vi — leads to Emsecondary dominant	D# · F# · A	2×
vi	Em	Relative minor — the melancholy side	E · G · B	3×
V/ii	E	Secondary dominant V/ii — leads to Amsecondary dominant	E · G# · B	7×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—
V/iii	F#	Secondary dominant V/iii — leads to Bmsecondary dominant	F# · A# · C#	2×

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	3×
V/iv	E	Secondary dominant V/iv — leads to Amsecondary dominant	E · G# · B	7×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
V/v	F#	Secondary dominant V/v — leads to Bmsecondary dominant	F# · A# · C#	2×
III	G	Relative major — the bright side	G · B · D	1×
#iii	G#m	Chromatic colour chordoutside the key	G# · B · D#	4×
iv	Am	Subdominant — moves away from home	A · C · E	—
IV	A	Major IV — Dorian / melodic-minor colourmodal colour	A · C# · E	8×
v	Bm	Minor dominant — soft pull	B · D · F#	—
V7	B7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F# · A	14×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	1×
VI	C	Submediant — warm colour	C · E · G	1×
VI7	C7	Chromatic colour chordoutside the key	C · E · G · Bb	2×
VII	D	Subtonic — steps back to the tonic	D · F# · A	—
#vii°	D#dim	Leading-tone chord (harmonic minor)harmonic minor	D# · F# · A	2×

Analysis

The key pair is G major and its relative E minor (1 sharp). 11 different chords appear 45 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 B7 / D#dim / B is V7/vi, a secondary dominant heading for Em. E, F# act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

B7 E GV7/vi → V/iisecondary resolution EmV7 → V/iv ×4
B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×2

The move to watch is B7 → E, heard 4 times. From the Em side it is V7 → V/iv; from the G side it reads V7/vi → V/ii (secondary resolution: B7 resolves a fourth up to E). 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 B7, land on B, D#, F# — the chord's own tones always sound right on strong beats.
Over A, land on A, C#, E — 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.
When B7 comes, swap the scale's D for D#: that single note is the harmonic-minor sound of the chord.

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

2 semitones down · capo 2 keeps the original pitch
5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

The opening E lays a solid floor for everything that follows. The backbone is B7, A, E, G#m — V7/vi–II–V/ii–bii from the G side, V7–IV–V/iv–#iii from the Em side. B7 is the interesting twist: in G it is a chromatic chord (V7/vi), while in Em it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on B7 → E (V7/vi → V/ii in G, V7 → V/iv in Em): secondary resolution — B7 resolves a fourth up to E. It closes on D#dim, 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.