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)
Oğuzhan Koç - Vermem Seni Ellere - Chord
Key C major – A minor Chords Em, F, A, Dm, G Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Em A
Em A
Sevdirdin kendini bana hiç sorma
F Em
Bundan sonra sana gözüm gibi ben bakarım
Em A
Seni hiç kimseler alamaz unutma
F Dm Em
Kimseler üzemez karşılarına ben çıkarım
F Em F Em
Bana göre sen benim olmalısın, içime nefes gibi dolmalısın
F Em
Kaderime yön verecek bir ışık gibi doğmalısın
F Em F Em
Ara sıra bazı yok olsan da, geceleri üşüdüğüm anlarda
F Dm Em
Yanıma koşarak beni kor gibi yakmalısın
Em F Em F
Vermem seni ellere vermem, Allah şahidim olsun
Em F G F
Vermem seni ellere vermem, söz verdim bir kere dönemem
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Oğuzhan Koç - Vermem Seni Ellere Tabs
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Harmony analysis
Oğuzhan Koç – Vermem Seni Ellere: key and chord analysis
The song opens on Em and ends on F. 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: we can't honestly pick a side here — the song moves freely between C major and A 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 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 | — |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 2× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 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 | 12× |
| V | G | Dominant — strongest pull home | G · B · D | 1× |
| vi | Am | Relative minor — the melancholy side | A · C · E | — |
| V/ii | A | Secondary dominant V/ii — leads to Dmsecondary dominant | A · C# · E | 3× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | — |
| V/iv | A | Secondary dominant V/iv — leads to Dmsecondary dominant | A · C# · E | 3× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv | Dm | Subdominant — moves away from home | D · F · A | 2× |
| v | Em | Minor dominant — soft pull | E · G · B | 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 | 12× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 1× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 32 times in total; 4 of them sit naturally inside the shared scale. A acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- F G CIV → VIV → V AmVI → VIIVI → VII ×1
The move to watch is F → G, heard once. From the C side it reads IV → V (IV → V: the lift that builds tension before home); from the Am side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 Em, land on E, G, B — 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.
- Over A, land on A, C#, E — 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
Starting on Em, the song gives away its key from the very first bar. The chords that keep coming back are Em, F, A, Dm; read them as iii–IV–V/ii–ii in C or v–VI–V/iv–iv in Am. A adds a moment of surprise: secondary dominant V/ii — leads to Dm. Keep an ear on F → G (IV → V in C, VI → VII in Am): IV → V — the lift that builds tension before home. Ending on F, 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.
Oğuzhan Koç - Vermem Seni Ellere 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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