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)
Barabar - Saray Yolu - Chord
Key G major – E minor Chords Em, G, D, Cmaj7 Difficulty already in its easiest key
No ratings yet
or your user informations
Make it yours
Text size
Key: G | Em
Capo: 0
Em G D Cmaj7 Em Saray Yolu Düz Gider G Saray Yolu Düz Gider D Aman Bir Edalı Kız Gider Cmaj7 Yavrum Bir Kınalı Kız Gider Em O Kız Yolu Şaşırmış G O Kız Yolu Şaşırmış D Aman İnşallah Bize Gider Cmaj7 Yavrum İnşallah Bize Gider Em Saray Yolu Bu Mudur G Saray Yolu Bu Mudur D Aman Testi Dolu Su Mudur Cmaj7 Yavrum Testi Dolu Su Mudur Em Gittin Ki Tez Gelesin G Gittin Ki Tez Gelesin D Aman Tez Geldiğin Bu Mudur Cmaj7 Yavrum Tez Geldiğin Bu Mudur Em Saray Yolu İncedir G Saray Yolu İncedir D Aman Ne Karanlık Gecedir Cmaj7 Yavrum Ne Karanlık Ne Gecedir Em Yastık Kurbanın Olam G Yastık Kurbanın Olam D Aman Yar Yatışı Nicedir Cmaj7 Yavrum Yar Yatışı Nicedir
End of song Play again?
Barabar - Saray Yolu Tabs
NotesX
Harmony analysis
Barabar – Saray Yolu: key and chord analysis
The song opens on Em and ends on Cmaj7. 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 E minor side because it opens on 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 | 7× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | — |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| 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 | 7× |
| V | D | Dominant — strongest pull home | D · F# · A | 7× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 7× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 7× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 7× |
| iv | Am | Subdominant — moves away from home | A · C · E | — |
| v | Bm | Minor dominant — soft pull | B · D · F# | — |
| 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 | 7× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 7× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 4 different chords appear 28 times in total; 4 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 Em GIVmaj7 → vi EmVImaj7 → iVI → i ×6
The move to watch is Cmaj7 → Em, heard 6 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 G, land on G, B, D — the chord's own tones always sound right on strong beats.
- Over D, land on D, F#, A — 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
The song is already written in its easiest key for guitar.
The song's harmonic story
Starting on Em, the song gives away its key from the very first bar. The backbone is Em, G, D, Cmaj7 — vi–I–V–IVmaj7 from the G side, i–III–VII–VImaj7 from the Em side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cmaj7 → Em (IVmaj7 → vi in G, VImaj7 → i in Em): VI → i — falls a half step into home. The final chord is Cmaj7; 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.
Barabar - Saray Yolu 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.
Repertoires with this song
Similar songs, ready to play: pick a list.
Lyrics: AnonimMusic: AnonimArrangement: Fırat İkisivri
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.