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)
Duman - Gurbet - Chord
Key G major – E minor Chords F5, G#5, G5, Bb5 Easy key E (capo 3)
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Key: G | Em
Capo: 0
F5 G#5 G5 F5 Of of kime desem derdimi ben bulutlar G#5 G5 F5 Bizi dost bildiklerimiz vurdular Bb5 G#5 G5 F5 Bir de gurbet yarası var hepsinden derin Bb5 G#5 G5 F5 Söyleyin memleketten bir haber mi var? Bb5 G#5 G5 F5 Yoksa yarin gözyaşları mı bu yağmurlar Bb5 G#5 G5 F5 İçerim yanıyor yar yar yaram pek derin Bb5 G#5 G5 F5 Bana nazlı yardan aman bir haber verin G#5 G5 F5 Of of, bulutlar yarime selam söyleyin G#5 G5 F5 Kavuşma günümüz yakınmış deyin Bb5 G#5 G5 F5 Felek yardan ayrı koyduysa bizi Bb5 G#5 G5 F5 Gurbet elde bir başıma neyleyim Bb5 G#5 G5 F5 Yardan ırak yaşanır mı söyleyin
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Duman - Gurbet Tabs
NotesX
Harmony analysis
Duman – Gurbet: key and chord analysis
The song opens on F5 and ends on F5. 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 G major side because G is heard 12 times while Em never appears. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.
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 | G5 | Tonic — home | G · D | 12× |
| I | G | Tonic — home | G · B · D | — |
| bII | G#5 | Chromatic colour chordoutside the key | G# · D# | 12× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | — |
| bIII | Bb5 | Chromatic colour chordoutside the key | Bb · F | 8× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| III | B | Chromatic colour chordoutside the key | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | — |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| vi | Em | Relative minor — the melancholy side | E · G · B | — |
| bVII | F5 | Chromatic colour chordoutside the key | F · C | 13× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | — |
| bII | F5 | Chromatic colour chordoutside the key | F · C | 13× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G5 | Relative major — the bright side | G · D | 12× |
| III | G | Relative major — the bright side | G · B · D | — |
| #III | G#5 | Chromatic colour chordoutside the key | G# · D# | 12× |
| iv | Am | Subdominant — moves away from home | A · C · E | — |
| #IV | Bb5 | Chromatic colour chordoutside the key | Bb · F | 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# | — |
| VI | C | Submediant — warm colour | C · E · G | — |
| 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 45 times in total; 1 of them sit naturally inside the shared scale. F5, G#5, Bb5 step outside the scale as colour chords.
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
- 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 F5, land on F, C — the chord's own tones always sound right on strong beats.
- Over G#5, land on G#, D# — the chord's own tones always sound right on strong beats.
- Over G5, land on G, D — 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
- 3 semitones down · capo 3 keeps the original pitch
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The opening F5 lays a solid floor for everything that follows. The backbone is F5, G#5, G5, Bb5 — bVII–bII–I–bIII from the G side, bII–#III–III–#IV from the Em side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. The final chord is F5; 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.
Duman - Gurbet 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: Özdemir ErdoğanMusic: Özdemir Erdoğan
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