Pera - Olamam - Chord

Key G major – E minor Chords Em, Am, Bm, C, D Difficulty already in its easiest key

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Capo 0

Em
Yol bilmezmişim iz bilmezmişim
Am              Bm
Ben yetmezmişim sana sana
Em
Değer vermezmişim kıymet bilmezmişim
Am              Bm
Ben hak etmişim bunu

C            Em
Değerli olan ne varsa
Am           D
Yıkmışım ben hepsini
   C        Em
Ve sanmışım sensiz de
Am          D
Mutlu olurum

C            Em
Bu sözlerimi duyursan
Am        D
Sandım ki kurtulurum
C           Em
Çok emindim sensiz de
Am          
Mutlu olurum mutlu olurum

Em         Am
Olamam ben olamıyorum bak
D           Bm      C     Em
Boşa koydum dolamıyorum been
            Am
Aradım seni bulamıyorum bak
D              Bm      C       Em
Yolu yok bunun dönemiyorum geriye

Em          Am
Olamam ben olamıyorum bak
D                Bm      C
Senden başkasını sevemiyorum ben
Em          Am
Yapamam ben yapamıyorum bak
D            Bm      C     Em
Yanarım sana sönemiyorum been

Em  Am  D  Bm  C

Em
Söz vermezmişim yemin etmezmişim
  Am               Bm
Etsem gitmezmişsin gibi gibi
Em
Nefes almazmışım sana muhtaçmışım
Am                 Bm
Sensiz uyumazmışım gibi

End of song Play again?

Pera - Olamam Tabs

NotesX

Harmony analysis

Pera – Olamam: 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 15 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	13×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	9×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	9×
V	D	Dominant — strongest pull home	D · F# · A	8×
vi	Em	Relative minor — the melancholy side	E · G · B	15×
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	15×
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	13×
v	Bm	Minor dominant — soft pull	B · D · F#	9×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	9×
VII	D	Subtonic — steps back to the tonic	D · F# · A	8×

Analysis

The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 54 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

C Em GIV → vi EmVI → iVI → i ×9
Am D Gii → Vii → V Emiv → VII ×8
Bm Em Giii → vi Emv → inatural-minor cadence ×2
Am Em Gii → vi Emiv → iminor plagal ×1

The move to watch is C → Em, heard 9 times. From the Em side it is VI → i (VI → i: falls a half step into home); from the G side it reads IV → 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 Em, land on E, G, B — the chord's own tones always sound right on strong beats.
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.

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 Em lays a solid floor for everything that follows. Em, Am, Bm, C carry the song: vi–ii–iii–IV relative to G, i–iv–v–VI relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → Em (IV → vi in G, VI → i in Em): VI → i — falls a half step into home. The final chord is Bm; 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.