Kıraç - Oysa Bir Umuttu - Chord

Key G major – E minor Chords D, C, Bm, E, Am, G, Em, F Difficulty already in its easiest key

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Em        D                      C
Hayat akıp giderken avuçlarımdan 
                               E
Eğilip yerden toplayamıyorum parçalarımı 
           D                    C           Am             Bm
Ve artık her şey için, çok geç demek için, belki de çok geç

       Em              D                C                  E
Şimdi ellerim bomboş, sözlerim sarhoş, gönlüm olmuş bin parça
       D                  C             Am                Bm
Çoktan terk edip gitmiş, içte bu sevda, gözler olsa ne fayda 

       G              D                C             Bm
Oysa bir umuttu hep, gönlü besleyen, dayan yüreğim diyen
    D                 C               Am                 Bm
Ama kapkara bir yel, her yani sardı, bende bir tek can kaldı 

Bm                   G                   F                  E
Coşkun ırmaklardan, tozlu yağmurlardan, taşlı yollardan geçtim
Bm                   G                  F                E
Yalan olmuş serden, nar kokulu yardan, her şeyimden vazgeçtim
       G              D               C              Bm
Oysa bir umuttu hep, gönlü besleyen, dayan yüreğim diyen
     D                C               Am                 Bm
Ama kapkara bir yel, her yani sardı, bende bir tek can kaldı

Em  D   C   E
D   C   Am  Bm

End of song Play again?

Kıraç - Oysa Bir Umuttu Tabs

NotesX

Harmony analysis

Kıraç – Oysa Bir Umuttu: key and chord analysis

The song opens on Em 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: we can't honestly pick a side here — the song moves freely between G major and E minor because it opens on Em and G is heard 4 times against 3 for Em. Try reading the chords both ways and see which feels more like home to you.

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	4×
ii	Am	Supertonic — prepares the dominant	A · C · E	5×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	9×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	10×
V	D	Dominant — strongest pull home	D · F# · A	10×
vi	Em	Relative minor — the melancholy side	E · G · B	3×
V/ii	E	Secondary dominant V/ii — leads to Amsecondary dominant	E · G# · B	5×
bVII	F	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	F · A · C	2×
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	3×
V/iv	E	Secondary dominant V/iv — leads to Amsecondary dominant	E · G# · B	5×
bII	F	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	F · A · C	2×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	4×
iv	Am	Subdominant — moves away from home	A · C · E	5×
v	Bm	Minor dominant — soft pull	B · D · F#	9×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	10×
VII	D	Subtonic — steps back to the tonic	D · F# · A	10×

Analysis

The key pair is G major and its relative E minor (1 sharp). 8 different chords appear 48 times in total; 6 of them sit naturally inside the shared scale. E acts as a secondary dominant, briefly pointing at another chord of the key. F is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Bm Em Giii → vi Emv → inatural-minor cadence ×2

The move to watch is Bm → Em, heard 2 times. From the G side it reads iii → vi; from the Em side it is v → i (natural-minor cadence: gentle, modal arrival). 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 D, land on D, F#, A — 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 Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
On F, follow the chord's notes (F · A · C) rather than the key's scale — it's a borrowed colour.

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

The song is already written in its easiest key for guitar.

The song's harmonic story

The opening Em lays a solid floor for everything that follows. The chords that keep coming back are D, C, Bm, E; read them as V–IV–iii–V/ii in G or VII–VI–v–V/iv in Em. E adds a moment of surprise: secondary dominant V/ii — leads to Am. Keep an ear on Bm → Em (iii → vi in G, v → i in Em): natural-minor cadence — gentle, modal arrival. It closes on Bm, letting the G 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.