Pera - Sevda Beladır - Chord

Key G major – E minor Chords Am, Em, F, G Difficulty already in its easiest key

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Capo 0

Am  Em  F  G

Am
Yeri dolardı hani
                  Em
Ya da dönerdi geri dönmedi
F 
Beni severdi hem de çok
          G
Sandım ama sevmedi

Am
Çukura düşmüşüm nasıl da körmüşüm
Em
Savaşıp ölmüşüm sanki senle
F
Ayrı düşmüşüm nasıl üşümüşüm
G
Bine bölünmüşüm ve parçalarım yok anlamım gibi

Am
Sevda beladır bana
Em
Bu bir vedadır sana
F
Yandım yandım ama
G
İzini de silemedi yüreğimde yangın

Am
Bu his cezadır bana
Em
Bu aşk vebadır bana
F
Öldüm öldüm ama
G
Yazımı da silemedi kaderime dargınım

Am  Em  F  G

Am
Hani arardı beni
                 Em
Hani sorardı beni sormadı
F
Oluruna bırakıyorum dedim
        G
Her şeyi olmadı

Am
Çukura düşmüşüm nasıl da körmüşüm 
Em
Savaşıp ölmüşüm sanki senle
F
Ayrı düşmüşüm nasıl üşümüşüm
G
Bine bölünmüşüm ve parçalarım yok anlamım gibi

Am
Sevda beladır bana
Em
Bu bir vedadır sana
F
Yandım yandım ama
G
İzini de silemedi yüreğimde yangın

Am
Bu his cezadır bana
Em
Bu aşk vebadır bana
F
Öldüm öldüm ama
G
Yazımı da silemedi kaderime dargınım

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Pera - Sevda Beladır Tabs

NotesX

Harmony analysis

Pera – Sevda Beladır: key and chord analysis

The song opens on Am and ends on G. 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 it comes to rest on G. 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	10×
ii	Am	Supertonic — prepares the dominant	A · C · E	10×
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	—
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	10×
bVII	F	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	F · A · C	10×
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	10×
bII	F	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	F · A · C	10×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	10×
iv	Am	Subdominant — moves away from home	A · C · E	10×
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	—
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). 4 different chords appear 40 times in total; 3 of them sit naturally inside the shared scale. F is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Am Em Gii → vi Emiv → iminor plagal ×10
F G GbVII → IbVII → I EmbII → III ×10

The move to watch is Am → Em, heard 10 times. From the G side it reads ii → vi; from the Em side it is iv → i (minor plagal: deep and melancholic). 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 Am, land on A, C, E — 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.
Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
On F, follow the chord's notes (F · A · C) 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

The song is already written in its easiest key for guitar.

The song's harmonic story

The opening Am lays a solid floor for everything that follows. Am, Em, F, G carry the song: ii–vi–bVII–I relative to G, iv–i–bII–III relative to Em. F briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on Am → Em (ii → vi in G, iv → i in Em): minor plagal — deep and melancholic. It closes on G, 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.