Diyar Pala - Uzak Ol - Chord

Key G major – E minor Chords Bm, Em, Am Easy key C (capo 7)

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Capo 0

Em  Bm  Am  Bm

Em                          Bm
Kimisi yüzüme dost, kiminin kafada şeytanı çok
Am                        Bm
Bu yüzden yanıma yanaşır, sorsan bi çıkarı yok yok yok yok
Em           Bm
Görünen ooo, çevremde keneler cirit atar
Am                            Bm
Pastadan pay için seni satar, yalnız takılmak en doğru karar

Em  Bm  Am  Bm

Em             Bm
En dibe vurdum off nereye kadar
Am            Bm
Kor alevler akar damarlarımda
Em             Bm
Kavrulmak ne demek bir de bana sor
Am             Bm
Yıllar karışıyo dumanlara

Em                      Bm                           Am
Kafada sorunlar yine bi ton, çevremde yancılar dolanıyo
                          Bm               Em
Çok oldu çizeli farklı bi yol, benden uzak ol

Em  Bm  Am  Bm

Em         Bm
Peki niye, durumum değişti birden bire
Am                              Bm
Kolayca güvenip inanan bu adam, aniden dönüştü taş kalpliye
Em         Bm
Bile bile, insanlar geliyor üzerime
Am                             Bm
Kafamı bozamam çenemi yoramam, artık ben dönemem o günlere

Em  Bm  Am  Bm

Em             Bm
En dibe vurdum off nereye kadar
Am            Bm
Kor alevler akar damarlarımda
Em             Bm
Kavrulmak ne demek bir de bana sor
Am             Bm
Yıllar karışıyo dumanlara

Em                      Bm                           Am
Kafada sorunlar yine bi ton, çevremde yancılar dolanıyo
                          Bm               Em
Çok oldu çizeli farklı bi yol, benden uzak ol

End of song Play again?

Diyar Pala - Uzak Ol Tabs

NotesX

Harmony analysis

Diyar Pala – Uzak Ol: key and chord analysis

The song opens on Em and ends on Em. 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 E minor side because it both starts and finishes on Em and Em is heard 16 times while G never appears. 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	—
ii	Am	Supertonic — prepares the dominant	A · C · E	14×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	28×
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	16×
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	16×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	—
iv	Am	Subdominant — moves away from home	A · C · E	14×
v	Bm	Minor dominant — soft pull	B · D · F#	28×
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). 3 different chords appear 58 times in total; 3 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

Bm Em Giii → vi Emv → inatural-minor cadence ×14

The move to watch is Bm → Em, heard 14 times. From the Em side it is v → i (natural-minor cadence: gentle, modal arrival); from the G side it reads iii → 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 Em, land on E, G, B — 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.

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
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

Starting on Em, the song gives away its key from the very first bar. The chords that keep coming back are Bm, Em, Am; read them as iii–vi–ii in G or v–i–iv in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm → Em (iii → vi in G, v → i in Em): natural-minor cadence — gentle, modal arrival. It closes on Em, letting the Em 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.