Nova Norda - Aşka Çarem Yok - Chord

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

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Capo 0

Em
Ben kimim, bu neyin duygusu
   Bm
Sanki ömrüm bi' kış uykusu
   C            G       Bm
Nerden gelip buldun benii
Em
Öyle düştüm ki korkusuz
  Bm
Öyle sevdim ki seni sorgusuz
 C          G      Bm
Üzülmemek elde değiil

C               D
Issız bi' adada doğmuşum
                    B
Yalnızlığın ilacını bulmuşum

İçmişim, içmişim aşık olmuşum

Em     C      B
Kalbim arsız, laf geçirmez
Em    C      B
Yansa merhem yok
Em   C        B
Taşlasınlar, "Kaç" desinler
Am   G     B7
Aşka çarem yok

Em
Rüyamda, genzimde tuzlu su
    Bm
Sen ben, bu aşkın iki suçlusu
   C        G      Bm
Tehlikeli sulardayıız
Em
Zihnimde geçmişin tortusu
   Bm
Göğsümde kaybederim korkusu
  C          G      Bm
Ölsem bile üzmem senii

C                D
Sensiz bi' odada solmuşum
                     B
Meğer ben bi' başıma yokmuşum

Ölmüşüm, bitmişim, gölgen olmuşum

Em     C      B
Kalbim arsız, laf geçirmez
Em    C      B
Yansa merhem yok
Em   C        B
Taşlasınlar, "Kaç" desinler
Am   G     B7
Aşka çarem yok

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Nova Norda - Aşka Çarem Yok Tabs

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Harmony analysis

Nova Norda – Aşka Çarem Yok: key and chord analysis

The song opens on Em 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: to us the song feels closer to the E minor side because it opens on Em, Em is heard 10 times against 6 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	6×
ii	Am	Supertonic — prepares the dominant	A · C · E	2×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	8×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	8×
V7/vi	B7	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F# · A	2×
IV	C	Subdominant — moves away from home	C · E · G	12×
V	D	Dominant — strongest pull home	D · F# · A	2×
vi	Em	Relative minor — the melancholy side	E · G · B	10×
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	10×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	6×
iv	Am	Subdominant — moves away from home	A · C · E	2×
v	Bm	Minor dominant — soft pull	B · D · F#	8×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	8×
V7	B7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F# · A	2×
VI	C	Submediant — warm colour	C · E · G	12×
VII	D	Subtonic — steps back to the tonic	D · F# · A	2×

Analysis

The key pair is G major and its relative E minor (1 sharp). 8 different chords appear 50 times in total; 6 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 B / B7 is V/vi, a secondary dominant heading for Em.

Chord movement

B Em GV/vi → vi EmV → iharmonic-minor cadence ×6
C G GIV → Iplagal cadence EmVI → III ×4
Bm Em Giii → vi Emv → inatural-minor cadence ×2
C D GIV → VIV → V EmVI → VIIVI → VII ×2
B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×1

The move to watch is B → Em, heard 6 times. From the Em side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the G side it reads V/vi → 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 C, land on C, E, G — the chord's own tones always sound right on strong beats.
Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
Over Bm, land on B, D, F# — 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 Em, the song gives away its key from the very first bar. The backbone is C, Em, Bm, B — IV–vi–iii–V/vi from the G side, VI–i–v–V from the Em side. B is the interesting twist: in G it is a chromatic chord (V/vi), while in Em it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on B → Em (V/vi → vi in G, V → i in Em): harmonic-minor cadence — the major V resolves dramatically. Ending on B7, 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.