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)
Mahmut Çınar - Bul Beni (Hüsnü Arkan) - Chord
Key G major – E minor Chords Bm, Am, D, C, Em, G Easy key C (capo 7)
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Key: G | Em
Capo: 0
Bm Am Bm Am
Ömrünün baharında bul beni kayıplar meydanında
G D C
Belki soğuk bir Şubat'ta, portakal zamanında
Em D C Bm
İki hasret, iki hayat, kaşla göz arasında, bul beni
Bm Am Bm Am
Kedinin rüyasında gör beni, perdemin arkasında
G D C
Unutulmuş bir resimde, bize baktığın anda
Em D C
İki şarkı, iki sevda, tanla gün arasında
Bm Am
Gör beni, gör beni
Em Bm D Bm
Gelsin diyorsa kalbin yerim varsa sol yanında
Em D C Am Bm
Çağır, çıkarsa yollar, kokun varsa en sonunda
Em Bm D Bm
Belki buluşuruz, Kadıköy’de, son vapurda
Em D C Am Bm
Bu şehir alırsa bizi, kayboluruz bir sokakta
Bm Am Bm Am
Çocuğun duasında duy beni, gönlünün çığlığında
G D C
Yalnızlığın gürültüsü çınlarsa kulağında
Em D C
İki özlem, iki vuslat senle ben arasında
Bm Am
Duy beni, duy beni
End of song Play again?
Mahmut Çınar - Bul Beni (Hüsnü Arkan) Tabs
NotesX
Harmony analysis
Mahmut Çınar – Bul Beni (Hüsnü Arkan): key and chord analysis
The song opens on Bm and ends on Am. 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: to us the song feels closer to the E minor side because Em is heard 7 times against 3 for G. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | 3× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 10× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 15× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 8× |
| V | D | Dominant — strongest pull home | D · F# · A | 10× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 7× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 7× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 3× |
| iv | Am | Subdominant — moves away from home | A · C · E | 10× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 15× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 8× |
| 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). 6 different chords appear 53 times in total; 6 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
- C Em GIV → vi EmVI → iVI → i ×3
- Bm Em Giii → vi Emv → inatural-minor cadence ×3
- Am Em Gii → vi Emiv → iminor plagal ×1
The move to watch is C → Em, heard 3 times. From the Em side it is VI → i (VI → i: falls a half step into home); from the G side it reads IV → 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over D, land on D, F#, A — 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
The song's harmonic story
Starting on Bm, the song gives away its key from the very first bar. The chords that keep coming back are Bm, Am, D, C; read them as iii–ii–V–IV in G or v–iv–VII–VI in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → Em (IV → vi in G, VI → i in Em): VI → i — falls a half step into home. It closes on Am, 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.
Mahmut Çınar - Bul Beni (Hüsnü Arkan) 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: Mahmut ÇınarMusic: Mahmut ÇınarArrangement: Efe Demiryoğuran
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