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)
KÖFN - Bi Tek Ben Anlarım - Chord
Key G major – E minor Chords Cmaj7, Bm7, Gmaj7, Em7, D, Am7 Easy key C (capo 7)
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Key: G | Em
Capo: 0
Cmaj7 Gmaj7 Cmaj7 Gmaj7
Cmaj7
Teninin üzerinden kayan bi buzdur
Gmaj7
Uzak bakışlarım
Cmaj7
Hiç izlememiş olsaydım bu filmi
Gmaj7
Canımı acıtırdı
Cmaj7
Ama seni bilmek
Gmaj7
Seni bilmek, seni bilmek
Beynimde bi kurşun
Cmaj7
Seni bilmek
Bm7
Seni bilmek, seni bilmek
En büyük ceza
Em7 D
Her anın aklımda
Cmaj7 Bm7
Her kıvrımın
Em7 D
Sanmasınlar asla
Cmaj7 Bm7
Seni benden ayrı
Am7
Savrulur savrulur
Bm7
Saçlarında hayatın
Am7
Seni sorsunlar benden
Bm7
Bi tek ben anlarım
Em7 D Cmaj7 Bm7 Em7 D Cmaj7 Bm7
Am7 Am7 Bm7 Bm7
End of song Play again?
KÖFN - Bi Tek Ben Anlarım Tabs
NotesX
Harmony analysis
KÖFN – Bi Tek Ben Anlarım: key and chord analysis
The song opens on Cmaj7 and ends on Bm7. 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 G major side because G is heard 5 times against 4 for Em. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| Imaj7 | Gmaj7 | Tonic — home | G · B · D · F# | 5× |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 4× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 9× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IVmaj7 | Cmaj7 | Subdominant — moves away from home | C · E · G · B | 10× |
| V | D | Dominant — strongest pull home | D · F# · A | 4× |
| vi7 | Em7 | Relative minor — the melancholy side | E · G · B · D | 4× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Em7 | Tonic — home | E · G · B · D | 4× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| IIImaj7 | Gmaj7 | Relative major — the bright side | G · B · D · F# | 5× |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 4× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 9× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VImaj7 | Cmaj7 | Submediant — warm colour | C · E · G · B | 10× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 4× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 36 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
- Cmaj7 Gmaj7 GIVmaj7 → Imaj7plagal cadence EmVImaj7 → IIImaj7 ×5
- Bm7 Em7 Giii7 → vi7 Emv7 → i7natural-minor cadence ×4
The move to watch is Cmaj7 → Gmaj7, heard 5 times. From the G side it reads IVmaj7 → Imaj7 (plagal cadence: the soft 'amen' ending); from the Em side it is VImaj7 → IIImaj7. 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 Cmaj7, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over Gmaj7, land on G, B, D — 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
The opening Cmaj7 lays a solid floor for everything that follows. The chords that keep coming back are Cmaj7, Bm7, Gmaj7, Em7; read them as IVmaj7–iii7–Imaj7–vi7 in G or VImaj7–v7–IIImaj7–i7 in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cmaj7 → Gmaj7 (IVmaj7 → Imaj7 in G, VImaj7 → IIImaj7 in Em): plagal cadence — the soft 'amen' ending. The final chord is Bm7; the ear comes to rest in G.
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.
KÖFN - Bi Tek Ben Anlarım 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: Salman TinMusic: Salman TinArrangement: Bilge Kağan Etil
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