Major view
E major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D# (leading tone, pulls home)
- 4 = A (the note that leans on the 3rd)
Emre Sertkaya - Özledim Seni - Chord
Key E major – C# minor Chords F#m, E, D, B, F#7, Bm, B7 Easy key D (capo 2)
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Key: E | Dbm | C#m
Capo: 0
F#m B F#m B
F#m E D
Yaz güneşi kadar sıcak
F#m E D
Bahar çiçeği gibi güzel
F#m E D
Hep gül gülüm, hep gül emi
F#m E D
Neredesin bahar yüzlüm
E D E F#m
Özledim seni, özledim seni
F#m B7 D F#m
Sevdan içimdeee yanıp tutuşur
B7 D F#m F#7
Kalbim ellerindeee çırpınıp durur
Bm F#m E
Ahh bu ne sevdadır gülüm
F#m F#7
Bu ne çiledir
Bm F#m E
Ooff sorma sensiz ne haldeyim
F#m F#7
Özledim gülüm
Bm F#m E F#m F#7
F#m B F#m B
F#m E D
Sensiz açmaz ne gül ne yaz
F#m E D
Susar sesim solar yüreğim
F#m E D
Sen gelmessen bahar yüzlüm
F#m E D
Yanar kül olur bu şehir
E D E F#m
Özledim seni, özledim seni
End of song Play again?
Emre Sertkaya - Özledim Seni Tabs
NotesX
Harmony analysis
Emre Sertkaya – Özledim Seni: key and chord analysis
The song opens on F#m and ends on F#m. Its chords belong to both E major and C#m, so every chord below is read both ways.
Minor view
C# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = A (the minor's melancholy)
- b7 = B (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the E major side because E is heard 15 times while C#m never appears. That is an interpretation, not a rule — hearing the same chords from C# minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to E or to C#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 | E | Tonic — home | E · G# · B | 15× |
| ii | F#m | Supertonic — prepares the dominant | F# · A · C# | 23× |
| V7/V | F#7 | Secondary dominant V/V — leads to Bsecondary dominant | F# · A# · C# · E | 4× |
| iii | G#m | Mediant — a tonic-family shade | G# · B · D# | — |
| III | G# | Chromatic colour chordoutside the key | G# · B# · D# | — |
| IV | A | Subdominant — moves away from home | A · C# · E | — |
| V | B | Dominant — strongest pull home | B · D# · F# | 4× |
| V7 | B7 | Dominant — strongest pull home | B · D# · F# · A | 2× |
| v | Bm | Chromatic colour chordoutside the key | B · D · F# | 3× |
| vi | C#m | Relative minor — the melancholy side | C# · E · G# | — |
| bVII | D | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | D · F# · A | 12× |
| vii° | D#dim | Leading-tone chord — tension | D# · F# · A | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | C#m | Tonic — home | C# · E · G# | — |
| bII | D | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | D · F# · A | 12× |
| ii° | D#dim | Supertonic — prepares the dominant | D# · F# · A | — |
| III | E | Relative major — the bright side | E · G# · B | 15× |
| iv | F#m | Subdominant — moves away from home | F# · A · C# | 23× |
| IV7 | F#7 | Major IV — Dorian / melodic-minor colourmodal colour | F# · A# · C# · E | 4× |
| v | G#m | Minor dominant — soft pull | G# · B · D# | — |
| V | G# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G# · B# · D# | — |
| VI | A | Submediant — warm colour | A · C# · E | — |
| VII | B | Subtonic — steps back to the tonic | B · D# · F# | 4× |
| VII7 | B7 | Subtonic — steps back to the tonic | B · D# · F# · A | 2× |
| vii | Bm | Chromatic colour chordoutside the key | B · D · F# | 3× |
Analysis
The key pair is E major and its relative C# minor (4 sharps). 7 different chords appear 63 times in total; 4 of them sit naturally inside the shared scale. F#7 acts as a secondary dominant, briefly pointing at another chord of the key. D is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- F#m B Eii → Vii → V C#miv → VII ×4
- D E EbVII → IbVII → I C#mbII → III ×4
- F#7 Bm EV7/V → vsecondary resolution C#mIV7 → vii ×3
- F#m B7 Eii → V7ii → V C#miv → VII7 ×2
The move to watch is F#m → B, heard 4 times. From the E side it reads ii → V (ii → V: the classic preparation of the dominant); from the C#m side it is iv → VII. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- E major pentatonic and C# minor pentatonic are the same five notes (E – F# – G# – B – C#): start from E for a brighter phrase, from C# for a bluesier one.
- Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- On D, follow the chord's notes (D · F# · A) rather than the key's scale — it's a borrowed colour.
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 E major shapes
- No capo — open E shapes
- Capo 2 + D shapes
- Capo 4 + C shapes
With C# minor shapes
- Capo 4 + Am shapes
Easiest keys on guitar
- 2 semitones down · capo 2 keeps the original pitch
- 3 semitones up
The song's harmonic story
Starting on F#m, the song gives away its key from the very first bar. F#m, E, D, B carry the song: ii–I–bVII–V relative to E, iv–III–bII–VII relative to C#m. F#7 adds a moment of surprise: secondary dominant V/V — leads to B. Keep an ear on F#m → B (ii → V in E, iv → VII in C#m): ii → V — the classic preparation of the dominant. The final chord is F#m; the ear comes to rest in E.
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.
Emre Sertkaya - Özledim Seni 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: Uluer Gülbahar
Kerem KekeçMusic: Uluer Gülbahar
Kerem Kekeç
Kerem KekeçMusic: Uluer Gülbahar
Kerem Kekeç
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