Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
Emrah Karaduman - Ona Göre (Nigar Muharrem) - Chord
Key C major – A minor Chords Em7, Am, F, Dm7, G Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Am Em7 O səni dərdlərə saldı getdi Am Em7 Sənin ürəyini aldı getdi F G Özüysə keçmişdə qaldı getdi Dm7 Em7 Sevmədi, sevə bilmədi F Em7 Onsuz gecələr yana yana,yana yana Dm7 Em7 Rahat yuxu yatamadım, gah o yana gah bu yana F Em7 Yuxularım kabus olub, nə əzablar verdi cana F G Off, offf Am Em7 Dost gəl ona görə pis olma Am Em7 Sən gəl ona görə pis olma F Em7 Get sev sən də başqasını Dm7 Em7 Yarı yolda qoyana görə pis olma Am Em7 Aldığı gülləri sat birinə Am Em7 Qəlb sarayını ver yad birinə Am Em7 Ağlama nə olar, unut onu Dm7 Em7 Sil hərşeyi yadı qoy yerinə
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Emrah Karaduman - Ona Göre (Nigar Muharrem) Tabs
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Harmony analysis
Emrah Karaduman – Ona Göre (Nigar Muharrem): key and chord analysis
The song opens on Am and ends on Em7. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the A minor side because it opens on Am and Am is heard 7 times while C never appears. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 | C | Tonic — home | C · E · G | — |
| ii7 | Dm7 | Supertonic — prepares the dominant | D · F · A · C | 4× |
| iii7 | Em7 | Mediant — a tonic-family shade | E · G · B · D | 14× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 5× |
| V | G | Dominant — strongest pull home | G · B · D | 2× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 7× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 7× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv7 | Dm7 | Subdominant — moves away from home | D · F · A · C | 4× |
| v7 | Em7 | Minor dominant — soft pull | E · G · B · D | 14× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 5× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 2× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 32 times in total; 5 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
- Em7 Am Ciii7 → vi Amv7 → inatural-minor cadence ×5
- F G CIV → VIV → V AmVI → VIIVI → VII ×2
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×1
The move to watch is Em7 → Am, heard 5 times. From the Am side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the C side it reads iii7 → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over Em7, land on E, G, B — 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 F, land on F, A, C — 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 C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
The opening Am lays a solid floor for everything that follows. Em7, Am, F, Dm7 carry the song: iii7–vi–IV–ii7 relative to C, v7–i–VI–iv7 relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em7 → Am (iii7 → vi in C, v7 → i in Am): natural-minor cadence — gentle, modal arrival. Ending on Em7, the song seals C 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.
Emrah Karaduman - Ona Göre (Nigar Muharrem) 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: Vüqar SübhanMusic: Vüqar Sübhan
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