Kalben - Kaybolmuş - Chord

Key G major – E minor Chords Em, Cmaj7, Am, G, C, D, B7, Bm … Difficulty already in its easiest key

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Capo 0

G  C  Am  D  G  G

G         C
 Bir şey arıyordum kaybolmuş
                C  G
Çoktan kaybolmuş,  kaybolmuş

Ben doğmadan önce bile

Burada yokmuş

Bu evde yokmuş

Am             Em
 Siyah beyaz filmlerde
Am              Em
 Sansürlenmiş şiirlerde
Am               C
 Sessiz söylenen şarkılarda
      D
 Bize ne olmuş

Am           Em
 Tekinsiz dalgalarda
Am           Em
 Yazlıksız kıyılarda
Am          C
 Basılmaz kayalarda
      D
 Bize ne olmuş

Cmaj7         Em
 Sevilmemiş çocuklarmış
Cmaj7         Em
 Yazılmamış romanlarmış
Cmaj7            Em            D
 Belki hiç vücut bulmamış insanlarmış

Cmaj7        Em
 Öpülmemiş kadınlarmış
Cmaj7       Em
 Ağlamamış adamlarmış
Cmaj7             Am
 Belki hiç güneşe uçmamış
     Em
Yüreksiz kuşlar gibi

Em
Dalında kalmış
    G
Kuruyup düşmüş
      Cmaj7
Sonra kış olmuş
     Am           Bm        Em
Kasırga gelmiş, almış, götürmüş
    G          Cmaj7  Amm  Bm  Em
Uzaklara yuvasına

Em        G               C
 Bir şey arıyordum çoktan kaybolmuş
Am    B7  
Kaybolmuş
Em        G        C
 Bir şey arıyordum kaybolmuş
Am    B7  
Kaybolmuş

B7
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Burada yokmuş

Bu evde yokmuş

Cmaj7         Em
 Sevilmemiş çocuklarmış
Cmaj7         Em
 Yazılmamış romanlarmış
Cmaj7            Em            D
 Belki hiç vücut bulmamış insanlarmış

Cmaj7        Em
 Öpülmemiş kadınlarmış
Cmaj7       Em
 Ağlamamış adamlarmış
Cmaj7             Am
 Belki hiç güneşe uçmamış
     Em
Yüreksiz kuşlar gibi

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Kalben - Kaybolmuş Tabs

NotesX

Harmony analysis

Kalben – Kaybolmuş: key and chord analysis

The song opens on G 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)
#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 comes to rest on Em, it opens on G, Em is heard 21 times against 9 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	9×
ii	Am	Supertonic — prepares the dominant	A · C · E	12×
ii	Amm	Supertonic — prepares the dominant	A · C · E	1×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	2×
V7/vi	B7	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F# · A	3×
IVmaj7	Cmaj7	Subdominant — moves away from home	C · E · G · B	14×
IV	C	Subdominant — moves away from home	C · E · G	7×
V	D	Dominant — strongest pull home	D · F# · A	5×
vi	Em	Relative minor — the melancholy side	E · G · B	21×
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	21×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	9×
iv	Am	Subdominant — moves away from home	A · C · E	12×
iv	Amm	Subdominant — moves away from home	A · C · E	1×
v	Bm	Minor dominant — soft pull	B · D · F#	2×
V7	B7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F# · A	3×
VImaj7	Cmaj7	Submediant — warm colour	C · E · G · B	14×
VI	C	Submediant — warm colour	C · E · G	7×
VII	D	Subtonic — steps back to the tonic	D · F# · A	5×

Analysis

The key pair is G major and its relative E minor (1 sharp). 9 different chords appear 74 times in total; 8 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.

Chord movement

Cmaj7 Em GIVmaj7 → vi EmVImaj7 → iVI → i ×10
Am Em Gii → vi Emiv → iminor plagal ×6
C D GIV → VIV → V EmVI → VIIVI → VII ×2
Bm Em Giii → vi Emv → inatural-minor cadence ×2
Am B7 Gii → V7/vi Emiv → V7iv → V ×2
D G GV → Iauthentic cadence EmVII → III ×1

The move to watch is Cmaj7 → Em, heard 10 times. From the Em side it is VImaj7 → i (VI → i: falls a half step into home); from the G side it reads IVmaj7 → 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 Em, land on E, G, B — the chord's own tones always sound right on strong beats.
Over Cmaj7, land on C, E, G — 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.
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

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

The song's harmonic story

Starting on G, the song gives away its key from the very first bar. The backbone is Em, Cmaj7, Am, G — vi–IVmaj7–ii–I from the G side, i–VImaj7–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 Cmaj7 → Em (IVmaj7 → vi in G, VImaj7 → i in Em): VI → i — falls a half step into home. Ending on Em, the song seals Em 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.