Pilli Bebek - Kırmızı - Chord

Key G major – E minor Chords E, A, G, B7, B, Am, C, Em Easy key C (capo 7)

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Capo 0

E                    A
Bu gördüğün cüretkâr tavır
E                   A
Arkasında kaç kahır saklıyor
E                    A
Ana caddeye açılan sokaklardan değilim
E                      A       E
Bana hiç değişmeyen şeyler kalıyor

B                 Am
Aklımda bir garip bahar özlemi
B                             Am
Fikrimde mutsuz sonların vazgeçilmez etkisi

G            B7                  Em
Bir kırmızı, bir karanlık içindeyiz

C
Kırmızıyı ben çözerim
  G                   B7
Karanlığı kim süpürür bilmem
C
Hiçbir şey şaşırtmaz beni
  G                      B7
Hayat mıdır zaman mıdır, bilmem

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Pilli Bebek - Kırmızı Tabs

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Harmony analysis

Pilli Bebek – Kırmızı: key and chord analysis

The song opens on E and ends on B7. 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: we can't honestly pick a side here — the song moves freely between G major and E minor because G is heard 3 times against 1 for Em and the major V chord points straight at Em. 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	3×
ii	Am	Supertonic — prepares the dominant	A · C · E	2×
II	A	Chromatic colour chordoutside the key	A · C# · E	4×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V7/vi	B7	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F# · A	3×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	2×
IV	C	Subdominant — moves away from home	C · E · G	2×
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	1×
V/ii	E	Secondary dominant V/ii — leads to Amsecondary dominant	E · G# · B	5×
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	1×
V/iv	E	Secondary dominant V/iv — leads to Amsecondary dominant	E · G# · B	5×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	3×
iv	Am	Subdominant — moves away from home	A · C · E	2×
IV	A	Major IV — Dorian / melodic-minor colourmodal colour	A · C# · E	4×
v	Bm	Minor dominant — soft pull	B · D · F#	—
V7	B7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F# · A	3×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	2×
VI	C	Submediant — warm colour	C · E · G	2×
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). 8 different chords appear 22 times in total; 4 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 / B is V7/vi, a secondary dominant heading for Em. E acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

C G GIV → Iplagal cadence EmVI → III ×2
B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×1
Am B Gii → V/vi Emiv → Viv → V ×1

The move to watch is C → G, heard 2 times. From the G side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Em side it is VI → III. 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 E, land on E, G#, B — the chord's own tones always sound right on strong beats.
Over A, land on A, C#, E — 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.
When B 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

5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

Starting on E, the song gives away its key from the very first bar. The chords that keep coming back are E, A, G, B7; read them as V/ii–II–I–V7/vi in G or V/iv–IV–III–V7 in Em. E is the interesting twist: in G it is a chromatic chord (V/ii), while in Em it becomes the dominant (V/iv) that makes the minor side sound so determined. Keep an ear on C → G (IV → I in G, VI → III in Em): plagal cadence — the soft 'amen' ending. The final chord is B7; 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.