Emir Can İğrek - Bir Yandan - Chord

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

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Capo 0

Bm      C     Bm       C
Bol bir ceket, bol bir sevda
Bm   C         Bm        C
Giyinmişim, yürüyorum çarpa çarpa

Am                 Bm
Elde çiçek seni soran
                    Am
Aptal bi' romantik var

Evim hala tenin
     Bm                     Am
Değişmedi birçok şeyim aslında

Am
"Senden bi' bok olmaz" dedin
Bm
Ama gör bak n'olucam
Am
Kışına bile meftun
  Bm
Gerekirse her şey donacak

Bm                         C
"Bak oğlum kendine bir yol çiz artık"

Diyosun bi' yandan
Bm
Bir yandan kalemimi kırdın
C
Çizemiyorum bak

End of song Play again?

Emir Can İğrek - Bir Yandan Tabs

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Harmony analysis

Emir Can İğrek – Bir Yandan: key and chord analysis

The song opens on Bm and ends on C. 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: we can't honestly pick a side here — the song moves freely between G major and E minor. Try reading the chords both ways and see which feels more like home to you.

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	5×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	10×
III	B	Chromatic colour chordoutside the key	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	6×
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	—
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	—
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	5×
v	Bm	Minor dominant — soft pull	B · D · F#	10×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	6×
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 21 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

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 C, 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.

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

Starting on Bm, the song gives away its key from the very first bar. The chords that keep coming back are Bm, C, Am; read them as iii–IV–ii in G or v–VI–iv in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Ending on C, 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.