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)
Nil Karaibrahimgil - Kanatlarım Var Ruhumda - Chord
Key G major – E minor Chords Em, Am, B, C Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em Am
Sen beni boşuna hiç, kalbinin oralara koyma
Em
Kollarını bana sarma
B
Kalamam oralarda
Em Am
Sen de gül eğlen, öyle acıklı konuşma
Em
Hayat ne ki sonuçta
B
Anlık bir buluşma
Em Am
Lalala la ben de böyleyim
C B
Lalala la hep de böyleydim
Em Am
Geçmişe gitmem, küsüm gözyaşlarıyla
Em
Daha güçlüyüm ben
B
Hatalarımla
Em Am
Beni kendi yoluna çağırma, benim yolum başka
Em
Gittiğim yer başka
B
Yokuşlarım başka
Em Am
Lalala la ben de böyleyim
C B
Lalala la hep de böyleydim
Em Am
Karanlıkta yanabilirim, boşlukta durabilirim
C B
Düşmem ben, kanatlarım var ruhumda
Em Am
Geldiğim gibi gidebilirim, aşktan vazgeçebilirim
C B
Zincir yok ki benim boynumda
End of song Play again?
Nil Karaibrahimgil - Kanatlarım Var Ruhumda Tabs
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Harmony analysis
Nil Karaibrahimgil – Kanatlarım Var Ruhumda: key and chord analysis
The song opens on Em and ends on B. 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)
- #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 12 times while G never appears 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 8× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | 8× |
| IV | C | Subdominant — moves away from home | C · E · G | 4× |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| vi | Em | Relative minor — the melancholy side | E · G · B | 12× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 12× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| iv | Am | Subdominant — moves away from home | A · C · E | 8× |
| v | Bm | Minor dominant — soft pull | B · D · F# | — |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | 8× |
| VI | C | Submediant — warm colour | C · E · G | 4× |
| 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). 4 different chords appear 32 times in total; 3 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
- B Em GV/vi → vi EmV → iharmonic-minor cadence ×7
- Am Em Gii → vi Emiv → iminor plagal ×4
The move to watch is B → Em, heard 7 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 Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over B, 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. Em, Am, B, C carry the song: vi–ii–V/vi–IV relative to G, i–iv–V–VI relative to 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 B → Em (V/vi → vi in G, V → i in Em): harmonic-minor cadence — the major V resolves dramatically. The final chord is B; 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.
Nil Karaibrahimgil - Kanatlarım Var Ruhumda 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: Nil KaraibrahimgilMusic: Nil Karaibrahimgil
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