Ahmet Kaya - Özgür Çağrı - Chord

Key G major – E minor Chords Bm, Em, C, Am, D Easy key C (capo 7)

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Capo 0

Em  Bm  Em  Bm  Em  C  D  Am  Bm
Bm   C  Am  Bm

Bm
 Sana yalan söyleyemem
Em          Bm
 Darılırsın yavrucağım

Em               Bm
 Ağabeyin bir gün dağdan döner
C           Bm 
 Sarılırsın yavrucağım
 
Em               Bm
 Ağabeyin bir gün dağdan döner
Am          Bm 
 Sarılırsın yavrucağım

Bm
 Giden gelmez, geri dönmez
Em             Bm
 Bilmiyormusun yavrucağım

Em           Bm
 Sen üzülme, sıra bende
C          Bm 
 Gideceğim yavrucağım
 
Em           Bm
 Sen üzülme, sıra bende
Am         Bm 
 Gideceğim yavrucağım

Elverir ki çoşku
Haylaz çocuklarını boğazlamasın
Avunmak elbette kolaydır
Şehri yiğit bir türkü gibi dolaşmak
Dağlara destanlar, düşünmek kolaydır
Hapislere bir sevinç çığlığı gibi düşmek
Kızların diri gögüslerinde
Matbaalarda
Ve kongre zabıtlarında dünyayı tazelemek
Yeryüzüne depremler düşürmek
Çünkü binlerce militanın rüzgarlı macerası
Bir kurşun bile değildir namusun mavzerine
Gönlün kahpeliğine tutsaksın açıkçası
Asıl savaş alanı suskundur arkadaş
Sahipsizdir
Asıl savaşcılar afyonlu, mütevekkil
Öyleyse
Şehrin girdabında çalkalanan zulüm
Halkın şanlı isyanına işaret değil
Bodrum duvarlarına öfkeli yazıları
Tırnaklarınla kazıyorsan da

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Ahmet Kaya - Özgür Çağrı Tabs

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Harmony analysis

Ahmet Kaya – Özgür Çağrı: 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: to us the song feels closer to the E minor side because it opens on Em and Em is heard 9 times while G never appears. 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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	—
ii	Am	Supertonic — prepares the dominant	A · C · E	4×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	17×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	4×
V	D	Dominant — strongest pull home	D · F# · A	1×
vi	Em	Relative minor — the melancholy side	E · G · B	9×
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	9×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	—
iv	Am	Subdominant — moves away from home	A · C · E	4×
v	Bm	Minor dominant — soft pull	B · D · F#	17×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	4×
VII	D	Subtonic — steps back to the tonic	D · F# · A	1×

Analysis

The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 35 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

Bm Em Giii → vi Emv → inatural-minor cadence ×8
C D GIV → VIV → V EmVI → VIIVI → VII ×1

The move to watch is Bm → Em, heard 8 times. From the Em side it is v → i (natural-minor cadence: gentle, modal arrival); from the G side it reads iii → 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 Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
Over Em, land on E, G, B — 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.

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 Em, the song gives away its key from the very first bar. Bm, Em, C, Am carry the song: iii–vi–IV–ii relative to G, v–i–VI–iv relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. 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.