Tekir - Koparmadan - Chord

Key Bb major – G minor Chords F#, Emaj7, C#m Easy key F# (capo 4)

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Capo 0

Emaj7  F#  C#m  F#

Emaj7
Nası güleyim of, uyandığım güne hevesim yok
             F#
Gene kendimi toplar doğrulurum zorla, ama iki adım sonra
          C#m
Yığılırım yere nası nefes alayım of

Dağıttığın eve gidesim yok
                F#
Kırdım her yeri gamla, dökük bütün camlar, sönük bi mum bi de şamdan
            Emaj7
Ve bi kırık çerçeve

Emaj7                            F#
Birden sonra sayamadım kaç kez öldüm
                               C#m
Hasarını birkaç farklı tene böldün mü
                                 F#
Yalan dünya böyle kaç ruh eşi gömmüş
                                  Emaj7
Karanlığımdan çıktın da güneşi gördün mü

Emaj7                        F#
Bırakma hiç can almadan ölümsen
                            C#m
Kanat beni zararından çekinmem
                              F#
Benim toprağımda açtın gülüm sen
                          Emaj7
İnan seni koparmadan sevicem
x2

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Tekir - Koparmadan Tabs

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Harmony analysis

Tekir – Koparmadan: key and chord analysis

The song opens on Emaj7 and ends on Emaj7. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

Major view

Bb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = A (leading tone, pulls home)
4 = Eb (the note that leans on the 3rd)

Minor view

G minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Eb (the minor's melancholy)
b7 = F (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 Bb major and G 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 Bb or to Gm; 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 Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	—
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	—
biii	C#m	Chromatic colour chordoutside the key	C# · E · G#	4×
iii	Dm	Mediant — a tonic-family shade	D · F · A	—
III	D	Chromatic colour chordoutside the key	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	—
#IVmaj7	Emaj7	Chromatic colour chordoutside the key	E · G# · B · D#	7×
V	F	Dominant — strongest pull home	F · A · C	—
bVI	F#	Borrowed from the parallel minorborrowed chord	F# · A# · C#	8×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	—
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	—
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	—
iv	Cm	Subdominant — moves away from home	C · Eb · G	—
#iv	C#m	Chromatic colour chordoutside the key	C# · E · G#	4×
v	Dm	Minor dominant — soft pull	D · F · A	—
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	—
#VImaj7	Emaj7	Chromatic colour chordoutside the key	E · G# · B · D#	7×
VII	F	Subtonic — steps back to the tonic	F · A · C	—
#VII	F#	Chromatic colour chordoutside the key	F# · A# · C#	8×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 3 different chords appear 19 times in total; 0 of them sit naturally inside the shared scale. F# is borrowed from the parallel minor, adding a darker shade to the major side.

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

Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
Over F#, land on F#, A#, C# — the chord's own tones always sound right on strong beats.
Over Emaj7, land on E, G#, B — the chord's own tones always sound right on strong beats.
Over C#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
On F#, follow the chord's notes (F# · A# · C#) rather than the key's scale — it's a borrowed colour.

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 Bb major shapes

Capo 1 + A shapes
Capo 3 + G shapes
Capo 6 + E shapes

With G minor shapes

Capo 3 + Em shapes
Capo 5 + Dm shapes

Easiest keys on guitar

4 semitones down · capo 4 keeps the original pitch
1 semitone up

The song's harmonic story

The opening Emaj7 lays a solid floor for everything that follows. The chords that keep coming back are F#, Emaj7, C#m; read them as bVI–#IVmaj7–biii in Bb or #VII–#VImaj7–#iv in Gm. F# briefly darkens the picture: borrowed from the parallel minor. It closes on Emaj7, letting the Bb side have the last word.

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.