Funda Arar - Of Makamından - Chord

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

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Capo 0

Bm  Am  Bm  Am
Em  C   D   C  Bm

D    C   Bm   D      C     Bm
Of makamından bir şarkı söyle,
Am          D  C    Bm
İçim yansın akşam akşam,
D  C     Bm  D    C     Bm
Ah faslından geçmeye geldim,
Am          D      C      B  Bm
Gözüm yaşlı hiç karşı koyma

x2
            G     D     Em
Bir durdurabilseydim kendimi,
D                        D  C    Bm
Bir sona erdirebilseydim bu hikayeyi

Bm                     Em
Nerdesin hayat hayat hayat,
D               D       C      Bm
Belki hata hala bir hayale tutunmak,
Bm                         Em
Çok sevdim ama yarım ve hoyrat,
D              D      C     Bm
Yardım et bana bu nasıl unutmak

Bm                     Em
Nerdesin hayat kalan hayat,
D               D       C      Bm
Belki hata hala bir hayale tutunmak,
Bm                         Em
Çok sevdim ama yarım ve hoyrat,
D              D      C     Bm
Yardım et bana bu nasıl unutmak

End of song Play again?

Funda Arar - Of Makamından Tabs

NotesX

Harmony analysis

Funda Arar – Of Makamından: key and chord analysis

The song opens on Bm and ends on Bm. 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 Em is heard 6 times against 1 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	1×
ii	Am	Supertonic — prepares the dominant	A · C · E	4×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	18×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	1×
IV	C	Subdominant — moves away from home	C · E · G	13×
V	D	Dominant — strongest pull home	D · F# · A	18×
vi	Em	Relative minor — the melancholy side	E · G · B	6×
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	6×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	1×
iv	Am	Subdominant — moves away from home	A · C · E	4×
v	Bm	Minor dominant — soft pull	B · D · F#	18×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	1×
VI	C	Submediant — warm colour	C · E · G	13×
VII	D	Subtonic — steps back to the tonic	D · F# · A	18×

Analysis

The key pair is G major and its relative E minor (1 sharp). 7 different chords appear 61 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 is V/vi, a secondary dominant heading for Em.

Chord movement

Bm Em Giii → vi Emv → inatural-minor cadence ×4
Am D Gii → Vii → V Emiv → VII ×2
Am Em Gii → vi Emiv → iminor plagal ×1
D Em GV → videceptive cadence EmVII → iAeolian arrival ×1
C D GIV → VIV → V EmVI → VIIVI → VII ×1

The move to watch is Bm → Em, heard 4 times. From the Em side it is v → i (natural-minor cadence: gentle, modal arrival); from the G side it reads iii → 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 Bm, land on B, D, F# — 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.
Over C, land on C, E, G — 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

The first chord is Bm; the ear learns where home is within a second. The chords that keep coming back are Bm, D, C, Em; read them as iii–V–IV–vi in G or v–VII–VI–i in Em. 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 Bm → Em (iii → vi in G, v → i in Em): natural-minor cadence — gentle, modal arrival. The final chord is Bm; 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.