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)
Ceylan Ertem - Nafile Kelam - Chord
Key G major – E minor Chords C, Am, B, Em, G, D, F, F# … Easy key C (capo 7)
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Key: G | Em
Capo: 0
B C
Dayandığı yollar dönülmez kavşağa
Am B
Meğer kankardeşiymiş kederle neşe
C
Bin medet umdukta geceden şafağa
Am G F# B
Alacakaranlık küsmüş güneşe
Em D C B
Çilemi ne sen sor ne ben anlatayım
C Am C
Göğün umrundamı sevdası dağın
Am Em C B
Hangi efsunlu söz geri döndürür
Am F C B
Nafile kelama varmıyor dilim
Em C
Ağzımda yüreğim sır sırrakadem
Am G D C Bm
Senden de bendende vallahi dem vurma
Em C
Unutulmuş bir dil de yazılmış dua
Am G Am A# B
O duman yok yere tutmuyor mu ateş
Em D C B
Çilemi ne sen sor ne ben anlatayım
C Am C
Göğün umrundamı sevdası dağın
Am Em C B
Hangi efsunlu söz geri döndürür
Am F C B
Nafile kelama varmıyor dilim
End of song Play again?
Ceylan Ertem - Nafile Kelam Tabs
NotesX
Harmony analysis
Ceylan Ertem – Nafile Kelam: key and chord analysis
The song opens on B and ends on B. 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 6 times against 3 for G 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 | 3× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 11× |
| bIII | A# | Borrowed from the parallel minorborrowed chord | A# · D · E# | 1× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 1× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | 10× |
| IV | C | Subdominant — moves away from home | C · E · G | 15× |
| V | D | Dominant — strongest pull home | D · F# · A | 3× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 6× |
| bVII | F | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | F · A · C | 2× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| V/iii | F# | Secondary dominant V/iii — leads to Bmsecondary dominant | F# · A# · C# | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 6× |
| 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 | — |
| V/v | F# | Secondary dominant V/v — leads to Bmsecondary dominant | F# · A# · C# | 1× |
| III | G | Relative major — the bright side | G · B · D | 3× |
| iv | Am | Subdominant — moves away from home | A · C · E | 11× |
| #IV | A# | Chromatic colour chordoutside the key | A# · D · E# | 1× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 1× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | 10× |
| VI | C | Submediant — warm colour | C · E · G | 15× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 3× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 10 different chords appear 53 times in total; 6 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. F# acts as a secondary dominant, briefly pointing at another chord of the key. F, A# are borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- B Em GV/vi → vi EmV → iharmonic-minor cadence ×3
- Am Em Gii → vi Emiv → iminor plagal ×2
- Am B Gii → V/vi Emiv → Viv → V ×1
- Bm Em Giii → vi Emv → inatural-minor cadence ×1
The move to watch is B → Em, heard 3 times. From the Em side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the G side it reads V/vi → 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 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.
- Over B, land on B, D#, F# — 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.
- 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
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
Starting on B, the song gives away its key from the very first bar. The chords that keep coming back are C, Am, B, Em; read them as IV–ii–V/vi–vi in G or VI–iv–V–i 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 B → Em (V/vi → vi in G, V → i in Em): harmonic-minor cadence — the major V resolves dramatically. Ending on B, the song seals G as home.
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.
Ceylan Ertem - Nafile Kelam 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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