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)
Aydın Kurtoğlu - Köle - Chord
Key G major – E minor Chords Bm, C, Am, B, D, Em Easy key C (capo 7)
No ratings yet
or your user informations
Make it yours
Text size
Key: G | Em
Capo: 0
Bm
Kime nasıl ikna olucam derken
C Bm
Karşımda gördüm seni
Bm
Dün bir bugün iki çok erken
C Bm
Dedim ki dur bakalım
B
Sizin ordan geçince
C B
Bizi hayal edince
Am B
Oynayan filmleri saatlerce
C Bm
Dedim ki çek bakalım
Bm Am Bm Am
İçine de siner tenine de
Bm D C
Bi geçirirsem seni ellerime
Bm Am Bm Am
Pervane döne döne itaatkar bir köle
Bm D C
Neler geçiyor aklımdan tövbe tövbe
Em C Am Bm
Ah içim gitti bi sarılıp koklasam derdim bitti
Bm
Sararıp solmadan gel derde devam
Em C Am
Sabah akşam dönsün başım dönsün dünyam
End of song Play again?
Aydın Kurtoğlu - Köle Tabs
NotesX
Harmony analysis
Aydın Kurtoğlu – Köle: key and chord analysis
The song opens on Bm and ends on Am. 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 Em is heard 2 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 | 7× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 13× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | 3× |
| IV | C | Subdominant — moves away from home | C · E · G | 8× |
| V | D | Dominant — strongest pull home | D · F# · A | 2× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 2× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 2× |
| 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 | 7× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 13× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | 3× |
| VI | C | Submediant — warm colour | C · E · G | 8× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 2× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 35 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
- Am B Gii → V/vi Emiv → Viv → V ×1
- C Em GIV → vi EmVI → iVI → i ×1
- Bm Em Giii → vi Emv → inatural-minor cadence ×1
The move to watch is Am → B, heard once. From the Em side it is iv → V (iv → V: the minor side's tension builder); from the G side it reads ii → V/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 C, land on C, E, G — 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.
- 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 opening Bm lays a solid floor for everything that follows. The chords that keep coming back are Bm, C, Am, B; read them as iii–IV–ii–V/vi in G or v–VI–iv–V 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 Am → B (ii → V/vi in G, iv → V in Em): iv → V — the minor side's tension builder. The final chord is Am; 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.
Aydın Kurtoğlu - Köle 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.