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)
Murat Boz - Can Havli - Chord
Key G major – E minor Chords Am7, Em, D, Em7, Bm7, B Easy key C (capo 7)
No ratings yet
or your user informations
Make it yours
Text size
Key: G | Em
Capo: 0
Em Yol doğru, yük ağır Am7 D Em Gözden düşen yaş değil sadece yar Em Am7 İmkansıza aşk ben sana sağır D Em Sen de bana dilsiz var Em Am7 Ağlamak nereye kadar D B Say yaşadıklarımıza say Em7 Am7 Kimsesi olmayan yolcular gibi D Am7 Bm7 Toplandık gidiyoruz haydi haydi Em Am7 Hüzün hiç olmaz mı elbet var D Bm7 Am7 Em7 Bu kaçmak değil bu bu can havli
End of song Play again?
Murat Boz - Can Havli Tabs
NotesX
Harmony analysis
Murat Boz – Can Havli: key and chord analysis
The song opens on Em and ends on Em7. 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 both starts and finishes on Em, Em is heard 8 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 | — |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 7× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 2× |
| 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 | — |
| V | D | Dominant — strongest pull home | D · F# · A | 5× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 6× |
| vi7 | Em7 | Relative minor — the melancholy side | E · G · B · D | 2× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 6× |
| i7 | Em7 | Tonic — home | E · G · B · D | 2× |
| 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 | 2× |
| 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 | — |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 5× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 23 times in total; 5 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
- Am7 D Gii7 → Vii → V Emiv7 → VII ×5
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×2
- B Em7 GV/vi → vi7 EmV → i7harmonic-minor cadence ×1
- Am7 Em7 Gii7 → vi7 Emiv7 → i7minor plagal ×1
- Bm7 Em Giii7 → vi Emv7 → inatural-minor cadence ×1
The move to watch is Am7 → D, heard 5 times. From the Em side it is iv7 → VII; from the G side it reads ii7 → V (ii → V: the classic preparation of the dominant). 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 Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Em, land on E, G, B — 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.
- 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. The chords that keep coming back are Am7, Em, D, Em7; read them as ii7–vi–V–vi7 in G or iv7–i–VII–i7 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 Am7 → D (ii7 → V in G, iv7 → VII in Em): ii → V — the classic preparation of the dominant. It closes on Em7, letting the Em 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.
Murat Boz - Can Havli 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.
Find something to play next
Ready-made lists by difficulty and mood.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.