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)
Funda Arar - Kara Kışın Esmeri - Chord
Key G major – E minor Chords Bm7, Cmaj7, Am7, D, Em7, Em Easy key C (capo 7)
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Key: G | Em
Capo: 0
Bm7 Cmaj7 Bm7 Cmaj7 Bm7 Cmaj7 Bir can cana aşık olan da Bm7 Cmaj7 Günler olurmuş kor cihanda Em7 D Cmaj7 Olabilir, olabilir Bm7 Cmaj7 Sevdik deli sevdik ne oldu Bm7 Cmaj7 Sevdanın yine hatrı kaldı Em D Cmaj7 Kalabilir, ah kalabilir Bm7 Cmaj7 Bir yarın kenarı, bıçak sırtı Bm7 Am7 Ah canım kesilir, düşer gibiyim D Am7 Bm7 Cmaj7 Ellerim sende tut beni çare yok Bm7 Cmaj7 Bir gece yarısı, kapım çalınır Bm7 Am7 Ah günahsa yine, sana soyunurum D Am7 Cmaj7 Canım sende tut beni çare yok Em7 Bm7 Yüreğimin ezberi, kara kışın esmeri Cmaj7 Am7 Bm7 Ben sana vurgun başka da çarem yok Em7 Bm7 Kederine doymuyor, bu deli kızın elleri Cmaj7 Am7 Bm7 Cmaj7 Ben sana vurgun başka da çarem yok, yok Am7 Cmaj7 Bm7 Ben sana yangın başka da çarem yok
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Funda Arar - Kara Kışın Esmeri Tabs
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Harmony analysis
Funda Arar – Kara Kışın Esmeri: key and chord analysis
The song opens on Bm7 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 E minor side because Em is heard 4 times while G never appears. 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 | — |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 7× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 16× |
| 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 | 16× |
| V | D | Dominant — strongest pull home | D · F# · A | 4× |
| vi7 | Em7 | Relative minor — the melancholy side | E · G · B · D | 3× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 1× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Em7 | Tonic — home | E · G · B · D | 3× |
| i | Em | Tonic — home | E · G · B | 1× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 7× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 16× |
| 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 | 16× |
| 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 47 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 Em7 GIVmaj7 → vi7 EmVImaj7 → i7VI → i ×2
- Am7 D Gii7 → Vii → V Emiv7 → VII ×2
- Cmaj7 Em GIVmaj7 → vi EmVImaj7 → iVI → i ×1
- Bm7 Em7 Giii7 → vi7 Emv7 → i7natural-minor cadence ×1
The move to watch is Cmaj7 → Em7, heard 2 times. From the Em side it is VImaj7 → i7 (VI → i: falls a half step into home); from the G side it reads IVmaj7 → vi7. 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 Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over Cmaj7, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Am7, 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
The first chord is Bm7; the ear learns where home is within a second. Bm7, Cmaj7, Am7, D carry the song: iii7–IVmaj7–ii7–V relative to G, v7–VImaj7–iv7–VII relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cmaj7 → Em7 (IVmaj7 → vi7 in G, VImaj7 → i7 in Em): VI → i — falls a half step into home. 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.
Funda Arar - Kara Kışın Esmeri 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: Burcu TatlısesMusic: Febyo TaşelArrangement: Febyo Taşel
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