Anonim - Çalın Davulları - Chord

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

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Capo 0

Bm          Am  Bm  C        Em  Bm  Am  D   Em  D
Çalın davullaaaarı   çaydan aşaaaya    amman, amaaan
Em  Am   Em        Bm     Em       Am  Bm  G
Mezarımı kazın bre dostlar belden aşaaaya

Bm         Am  Bm  C         Em  Bm  Am  D    Em  D
Koyun sularıııımı    kazan doluuunca   amman, amaaan
Em   Am   Em    Bm  Em       Am  Bm  G
Aman ölüm zalim ölüm üç gün araa ver
Em   Am     Em    Bm  Em       Am  Bm  G
Al başımdan bu sevdayı götür yare  ver

Em   Am   Em    Bm  Em       Am  Bm  G
Aman ecel canım ecel üç gün araa ver
Em   Am     Em    Bm  Em       Am  Bm  G
Al başımdan bu sevdayı götür yare  ver

Bm        Am  Bm  C        Em  Bm  Am   D   Em  D
Selanik Selaaanik   viran olaaasın    amman, amaaan
Em  Am    Em  Bm  Em       Am  Bm  G
Taşını topraaağını seller alaaasın

Bm       Am  Bm  C         Em  Bm  Am  D   Em  D
Sen de benim gibi yarsız kalaaasın   amman, amaaan
Em   Am   Em    Bm  Em       Am  Bm  G
Aman ölüm zalim ölüm üç gün araa ver
Em   Am     Em    Bm  Em       Am  Bm  G
Al başımdan bu sevdayı götür yare  ver

Em   Am   Em    Bm  Em       Am  Bm  G
Aman ecel canım ecel üç gün araa ver
Em   Am     Em    Bm  Em       Am  Bm
Al başımdan bu sevdayı götür yare  ver

End of song Play again?

Anonim - Çalın Davulları Tabs

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Harmony analysis

Anonim – Çalın Davulları: 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the E minor side because Em is heard 38 times against 9 for G. 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	9×
ii	Am	Supertonic — prepares the dominant	A · C · E	28×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	32×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	4×
V	D	Dominant — strongest pull home	D · F# · A	8×
vi	Em	Relative minor — the melancholy side	E · G · B	38×
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	38×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	9×
iv	Am	Subdominant — moves away from home	A · C · E	28×
v	Bm	Minor dominant — soft pull	B · D · F#	32×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	4×
VII	D	Subtonic — steps back to the tonic	D · F# · A	8×

Analysis

The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 119 times in total; 6 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.

Chord movement

Am Em Gii → vi Emiv → iminor plagal ×10
Bm Em Giii → vi Emv → inatural-minor cadence ×10
D Em GV → videceptive cadence EmVII → iAeolian arrival ×8
C Em GIV → vi EmVI → iVI → i ×4
Am D Gii → Vii → V Emiv → VII ×4

The move to watch is Am → Em, heard 10 times. From the Em side it is iv → i (minor plagal: deep and melancholic); from the G side it reads ii → 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 Bm, land on B, D, F# — 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.

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 Em, Bm, Am, G; read them as vi–iii–ii–I in G or i–v–iv–III in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am → Em (ii → vi in G, iv → i in Em): minor plagal — deep and melancholic. 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.