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)
Erkin Koray - Arap Saçı - Chord
Key G major – E minor Chords Bm, C, G, D, F#, Bb, Em Easy key C (capo 7)
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Key: G | Em
Capo: 0
Bm C Bb Bm Bm C Bb Bm Bm C Bm C Bm C Bm G F# G F# G F# G Em Em Bm C Bb Bm Bm Bir derdim var dinleyin C Ey gökteki yıldızlar Bm Beni benden çalarak D C Kaybolup gitti yıllar Bm Aşk aşk aşk yüzünden C Izdıraba kul oldum Bm Ömrüm böyle tükendi D C Ne kadar zalim yıllar Bm Gönlüm söz dinlemiyor C Sevdiğimi ver diyor Bm Kim görse şu halimi D C Bir daha sevme diyor Bm G Bb Bm Off, aşk yüzünden Bm C Bm C Arapsaçına döndüm Bm C Bm G Çöz beni arapsaçı F# G F# G Çivi çiviyi söker D Em D C Budur bunun ilacı Bm Budur bunun ilacı Bm Sen gittin saçlarıma C Erimez karlar yağdı Bm Mevsimlerin tadı yok D C Baharım sende kaldı Bm Ansızın gidiverdin C Haber bile vermedin Bm Hem kendin harap oldun D C Hem beni benden ettin
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Erkin Koray - Arap Saçı Tabs
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Harmony analysis
Erkin Koray – Arap Saçı: key and chord analysis
The song opens on Bm and ends on C. 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 8 times against 3 for Em. 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 | G | Tonic — home | G · B · D | 8× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | — |
| bIII | Bb | Borrowed from the parallel minorborrowed chord | Bb · D · F | 4× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 27× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 20× |
| V | D | Dominant — strongest pull home | D · F# · A | 7× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 3× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| V/iii | F# | Secondary dominant V/iii — leads to Bmsecondary dominant | F# · A# · C# | 5× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 3× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| V/v | F# | Secondary dominant V/v — leads to Bmsecondary dominant | F# · A# · C# | 5× |
| III | G | Relative major — the bright side | G · B · D | 8× |
| iv | Am | Subdominant — moves away from home | A · C · E | — |
| #IV | Bb | Chromatic colour chordoutside the key | Bb · D · F | 4× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 27× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 20× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 7× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 7 different chords appear 74 times in total; 5 of them sit naturally inside the shared scale. F# acts as a secondary dominant, briefly pointing at another chord of the key. Bb is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×1
The move to watch is D → Em, heard once. From the G side it reads V → vi (deceptive cadence: expected G, lands on Em); from the Em side it is VII → i (Aeolian arrival: rises a whole tone into home). 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 G, land on G, B, D — the chord's own tones always sound right on strong beats.
- On Bb, follow the chord's notes (Bb · D · F) 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
- 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 backbone is Bm, C, G, D — iii–IV–I–V from the G side, v–VI–III–VII from the Em side. F# adds a moment of surprise: secondary dominant V/iii — leads to Bm. Keep an ear on D → Em (V → vi in G, VII → i in Em): deceptive cadence — expected G, lands on Em. It closes on C, 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.
Erkin Koray - Arap Saçı 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: Özer ŞenayMusic: Özer Şenay
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