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)
Yavuz Çetin - Sadece Senin Olmak - Chord
Key G major – E minor Chords G, Cadd9, C, D, Em, B, A, Am7 … Difficulty already in its easiest key
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Key: G | Em
Capo: 0
G Cadd9
Sana olan aşkım hep akan bir su
G Cadd9
Sen de benim gibi misin söyle
G Cadd9
Aklımda senden başka
G Cadd9
Hiçbir şey yok bu günlerde
G Cadd9
Sadece senin aşkın avutur beni
G Cadd9
Unuturur bana bütün dertlerimi
G Cadd9
Şefkatli kollarınla sar beni bu gece
G D C
İstediğim aslında çok değil
G D C D
İstediğim aslında çok değil
C B Em
Sadece senin olmak istedim dünyada
C B Em
Sadece sana ait olmak
C B Em D A
Aşk denen duyguyu yeniden keşfettim
Am7 G C
Sadece senin olmak istedim
D Ebdim Em D C
Sadece senin olmak istedim
G Cadd9 G Cadd9
G Cadd9
Aklında olmak yetmez bana bu gece
G Cadd9
Yanı başında olmak isterim
G Cadd9
Rüyalarında olmak yetmez bana bu gece
G D Cadd9
Yatağında olmak isterim
G D Cadd9
Yatağında olmak isterim
C B Em
Sadece senin olmak istedim dünyada
C B Em
Sadece sana ait olmak
C B Em D A
Aşk denen duyguyu yeniden keşfettim
Am7 G C
Sadece senin olmak istedim
D Ebdim Em D C
Sadece senin olmak istedim
End of song Play again?
Yavuz Çetin - Sadece Senin Olmak Tabs
NotesX
Harmony analysis
Yavuz Çetin – Sadece Senin Olmak: key and chord analysis
The song opens on G 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)
- #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 G major side because it opens on G, G is heard 18 times against 8 for Em and the major V chord points straight at 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 | 18× |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 2× |
| V/V | A | Secondary dominant V/V — leads to Dsecondary dominant | A · C# · E | 2× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | 6× |
| IV | Cadd9 | Subdominant — moves away from home | C · E · G · D | 14× |
| IV | C | Subdominant — moves away from home | C · E · G | 12× |
| V | D | Dominant — strongest pull home | D · F# · A | 11× |
| vii°/vi | Ebdim | Secondary leading-tone chord vii°/vi — leads to Emsecondary dominant | Eb · Gb · A | 2× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 8× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 8× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 18× |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 2× |
| IV | A | Major IV — Dorian / melodic-minor colourmodal colour | A · C# · E | 2× |
| v | Bm | Minor dominant — soft pull | B · D · F# | — |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | 6× |
| VI | Cadd9 | Submediant — warm colour | C · E · G · D | 14× |
| VI | C | Submediant — warm colour | C · E · G | 12× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 11× |
| #vii° | Ebdim | Leading-tone chord (harmonic minor)harmonic minor | Eb · Gb · A | 2× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 9 different chords appear 75 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 / Ebdim is V/vi, a secondary dominant heading for Em. A acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Cadd9 G GIV → Iplagal cadence EmVI → III ×13
- B Em GV/vi → vi EmV → iharmonic-minor cadence ×6
- C D GIV → VIV → V EmVI → VIIVI → VII ×3
- C G GIV → Iplagal cadence EmVI → III ×2
The move to watch is Cadd9 → G, heard 13 times. From the G side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Em side it is VI → III. 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 G, land on G, B, D — the chord's own tones always sound right on strong beats.
- Over Cadd9, land on C, E, G — 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.
- When B comes, swap the scale's D for D#: that single note is the harmonic-minor sound of the chord.
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
The song is already written in its easiest key for guitar.
The song's harmonic story
The opening G lays a solid floor for everything that follows. The backbone is G, Cadd9, C, D — I–IV–IV–V from the G side, III–VI–VI–VII from the Em side. 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 Cadd9 → G (IV → I in G, VI → III in Em): plagal cadence — the soft 'amen' ending. The final chord is C; the ear comes to rest in G.
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.
Yavuz Çetin - Sadece Senin Olmak 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: Yavuz ÇetinMusic: Yavuz Çetin
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