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)
Ziynet Sali - Ömrüm - Chord
Key G major – E minor Chords Am, Bm, C, Em, D, Gmaj7, F#m7b5 Easy key C (capo 7)
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Key: G | Em
Capo: 0
Bm C D Em C Am D Am Em Am Bm Bm C Beklenendi özlenendi Em D Am Geldi ruhum tazelendi C Am Bak bezendi gülle bahçelerim Em D Am Bm Çaresiz dertlerim çarelendi Bm C D Ömrüm ömrün kadar olsun Em C Sensiz geçen güne sitemkarım Am Eksik ne varsa koydun yerine C F#m7b5 Bm Sana minettaaaarım Bm Am C Bm Dün gece başımı, yastığa koydum Em Am Şükrettim varlığına C D Bm Am İkimizi düşündüm uzunca bir süre Gmaj7 Am Bm Dualar ettim sağlığına Bm Am C Bm Sensiz bir güne, gittim öldüm Em Am Sanki bir anlığına, aşkı öğretenim Em D Em Am Aşkı öğretenim teşekkür ederim Gmaj7 Am Bm Hem aşkına hem dostluğuna
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Ziynet Sali - Ömrüm Tabs
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Harmony analysis
Ziynet Sali – Ömrüm: key and chord analysis
The song opens on Bm and ends on Bm. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the E minor side because Em is heard 9 times against 2 for G. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| Imaj7 | Gmaj7 | Tonic — home | G · B · D · F# | 2× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 15× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 13× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 10× |
| V | D | Dominant — strongest pull home | D · F# · A | 7× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 9× |
| viiø7 | F#m7b5 | Leading-tone chord — tension | F# · A · C · E | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 9× |
| iiø7 | F#m7b5 | Supertonic — prepares the dominant | F# · A · C · E | 1× |
| IIImaj7 | Gmaj7 | Relative major — the bright side | G · B · D · F# | 2× |
| iv | Am | Subdominant — moves away from home | A · C · E | 15× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 13× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 10× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 7× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 7 different chords appear 57 times in total; 7 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
- D Em GV → videceptive cadence EmVII → iAeolian arrival ×3
- Am Em Gii → vi Emiv → iminor plagal ×3
- C D GIV → VIV → V EmVI → VIIVI → VII ×3
- Bm Em Giii → vi Emv → inatural-minor cadence ×2
- Am D Gii → Vii → V Emiv → VII ×1
- C Em GIV → vi EmVI → iVI → i ×1
The move to watch is D → Em, heard 3 times. From the Em side it is VII → i (Aeolian arrival: rises a whole tone into home); from the G side it reads V → vi (deceptive cadence: expected G, lands on Em). 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Bm, land on B, D, F# — 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
The opening Bm lays a solid floor for everything that follows. Am, Bm, C, Em carry the song: ii–iii–IV–vi relative to G, iv–v–VI–i relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D → Em (V → vi in G, VII → i in Em): Aeolian arrival — rises a whole tone into home. Ending on Bm, the song seals G 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.
Ziynet Sali - Ömrüm 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: Tuğçe ÖrenMusic: Tuğçe ÖrenArrangement: Mustafa Ceceli
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