Major view
B major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A# (leading tone, pulls home)
- 4 = E (the note that leans on the 3rd)
Ozan Ceylan - Özledim - Chord
Key B major – G# minor Chords D#m7, C#m7, Emaj7 Easy key C
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Key: B | Abm | G#m
Capo: 0
Emaj7 D#m7 C#m7 D#m7
Emaj7
Özledim, sesini özledim
D#m7
Dudaklarının nemini özledim
C#m7 D#m7
Seninle, gülmeyi özledim
Emaj7
Özledim, gözlerini
D#m7
Özledim, sıcacık ellerini
C#m7 D#m7
Özledim, aşk kokan sevgini
Emaj7
Bilmiyorum, sevgimden mi
D#m7 C#m7
Yoksa, nefretimden mi bu sözler
D#m7
Bilmiyorum özledim mi seni
Emaj7
Geçmez mi bu kara leke
D#m7
Aşk dolu eski defterler
C#m7 C#m7
Silinmez mi akıldan ve kalbimden
C#m7 D#m7
Anlamıyorum,mutluluk neden beni bulamadı
C#m7 D#m7
Yoksa yolunu mu kaybetti, bana gelirken
Emaj7 D#m7 C#m7 D#m7
End of song Play again?
Ozan Ceylan - Özledim Tabs
NotesX
Harmony analysis
Ozan Ceylan – Özledim: key and chord analysis
The song opens on Emaj7 and ends on D#m7. Its chords belong to both B major and G#m, so every chord below is read both ways.
Minor view
G# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = E (the minor's melancholy)
- b7 = F# (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 B major and G# minor. 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 B or to G#m; 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 | B | Tonic — home | B · D# · F# | — |
| ii7 | C#m7 | Supertonic — prepares the dominant | C# · E · G# · B | 9× |
| iii7 | D#m7 | Mediant — a tonic-family shade | D# · F# · A# · C# | 13× |
| III | D# | Chromatic colour chordoutside the key | D# · G · A# | — |
| IVmaj7 | Emaj7 | Subdominant — moves away from home | E · G# · B · D# | 6× |
| V | F# | Dominant — strongest pull home | F# · A# · C# | — |
| vi | G#m | Relative minor — the melancholy side | G# · B · D# | — |
| vii° | A#dim | Leading-tone chord — tension | A# · C# · E | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | G#m | Tonic — home | G# · B · D# | — |
| ii° | A#dim | Supertonic — prepares the dominant | A# · C# · E | — |
| III | B | Relative major — the bright side | B · D# · F# | — |
| iv7 | C#m7 | Subdominant — moves away from home | C# · E · G# · B | 9× |
| v7 | D#m7 | Minor dominant — soft pull | D# · F# · A# · C# | 13× |
| V | D# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D# · G · A# | — |
| VImaj7 | Emaj7 | Submediant — warm colour | E · G# · B · D# | 6× |
| VII | F# | Subtonic — steps back to the tonic | F# · A# · C# | — |
Analysis
The key pair is B major and its relative G# minor (5 sharps). 3 different chords appear 28 times in total; 3 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
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
Improvisation tips
- B major pentatonic and G# minor pentatonic are the same five notes (B – C# – D# – F# – G#): start from B for a brighter phrase, from G# for a bluesier one.
- Over D#m7, land on D#, F#, A# — the chord's own tones always sound right on strong beats.
- Over C#m7, land on C#, E, G# — the chord's own tones always sound right on strong beats.
- Over Emaj7, land on E, G#, B — 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 B major shapes
- Capo 2 + A shapes
- Capo 4 + G shapes
- Capo 7 + E shapes
With G# minor shapes
- Capo 4 + Em shapes
- Capo 6 + Dm shapes
Easiest keys on guitar
- 1 semitone up
- 4 semitones down · capo 4 keeps the original pitch
The song's harmonic story
Starting on Emaj7, the song gives away its key from the very first bar. The backbone is D#m7, C#m7, Emaj7 — iii7–ii7–IVmaj7 from the B side, v7–iv7–VImaj7 from the G#m side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Ending on D#m7, the song seals B 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.
Ozan Ceylan - Özledim 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: Ozan CeylanMusic: Ozan Ceylan
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