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)
Zeynep Bastık - Araf (Hazal Kaya) - Chord
Key G major – E minor Chords Bm7, C, Em7, Am7, B7, D, A#, Gm … Easy key C (capo 7)
No ratings yet
or your user informations
Make it yours
Text size
Key: G | Em
Capo: 0
Em7 C Bm7 Am7
Kalbin işine bak yüzüne bakamaz
Em7 C Bm7 B7
Ağğğlar durur sen uyurken
Em7 C Bm7 Am7 B7
Yalnız olamayan böyle mi yapar dersen anlarım
Em7 C Bm7 Am7
Aşkın içine bak, en güzeline
Em7 C Bm7 B7
Hem var hem yok mu, bile bile
Em7 C Bm7 Am7
Adaalet yok ya, canımı yakar bu sessizlik
Bm7
Yerimi bilmem
Am7
Bilmem ne taraftayım
Bm7
Sesimi duymam
Am7
Ne zamandır araftayım
Em7 C Bm7 B7
Em7 C Bm7 Am7
Aşkın içine bak, en güzeline
Em7 C Bm7 B7
Hem var hem yok mu, bile bile
Em7 C Bm7 Am7
Adaalet yok ya, canımı yakar bu sessizlik
D A# Gm D#
Kimler varmış içimde yoklama yaptım
D A# Gm D#
Deliler çıktı, cellatlar bir de şeytanlar
D A# Gm D#
Kimler varmış içimde yoklama yaptım
D A# Gm D# Em C Bm B7
Deliler çıktı, cellatlar bir de şeytanlaaaaaaaaaaaaaaaar
End of song Play again?
Zeynep Bastık - Araf (Hazal Kaya) Tabs
NotesX
Harmony analysis
Zeynep Bastık – Araf (Hazal Kaya): key and chord analysis
The song opens on Em7 and ends on B7. 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)
- #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 it opens on Em, Em is heard 11 times while G never appears 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | — |
| i | Gm | Chromatic colour chordoutside the key | G · Bb · D | 4× |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 8× |
| bIII | A# | Borrowed from the parallel minorborrowed chord | A# · D · E# | 4× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 12× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 1× |
| V7/vi | B7 | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# · A | 6× |
| IV | C | Subdominant — moves away from home | C · E · G | 11× |
| V | D | Dominant — strongest pull home | D · F# · A | 4× |
| bVI | D# | Borrowed from the parallel minorborrowed chord | D# · G · A# | 4× |
| vi7 | Em7 | Relative minor — the melancholy side | E · G · B · D | 10× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 1× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Em7 | Tonic — home | E · G · B · D | 10× |
| i | Em | Tonic — home | E · G · B | 1× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| iii | Gm | Chromatic colour chordoutside the key | G · Bb · D | 4× |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 8× |
| #IV | A# | Chromatic colour chordoutside the key | A# · D · E# | 4× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 12× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 1× |
| V7 | B7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# · A | 6× |
| VI | C | Submediant — warm colour | C · E · G | 11× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 4× |
| #VII | D# | Chromatic colour chordoutside the key | D# · G · A# | 4× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 11 different chords appear 65 times in total; 7 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 is V7/vi, a secondary dominant heading for Em. A#, D# are borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- B7 Em7 GV7/vi → vi7secondary resolution EmV7 → i7harmonic-minor cadence ×5
- Am7 Em7 Gii7 → vi7 Emiv7 → i7minor plagal ×4
- Am7 B7 Gii7 → V7/vi Emiv7 → V7iv → V ×1
- Am7 D Gii7 → Vii → V Emiv7 → VII ×1
The move to watch is B7 → Em7, heard 5 times. From the Em side it is V7 → i7 (harmonic-minor cadence: the major V resolves dramatically); from the G side it reads V7/vi → vi7 (secondary resolution: B7 resolves a fourth up to Em7). 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 Bm7, 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 Em7, 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.
- On A#, follow the chord's notes (A# · D · E#) 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
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The first chord is Em7; the ear learns where home is within a second. The chords that keep coming back are Bm7, C, Em7, Am7; read them as iii7–IV–vi7–ii7 in G or v7–VI–i7–iv7 in Em. 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 → Em7 (V7/vi → vi7 in G, V7 → i7 in Em): harmonic-minor cadence — the major V resolves dramatically. Ending on B7, 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.
Zeynep Bastık - Araf (Hazal Kaya) 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Mor ve ÖtesiMusic: Mor ve Ötesi
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.