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)
Zeynep Bastık - Aşkın Mevsimi (Oğuzhan Koç) - Chord
Key G major – E minor Chords Bm7, Am7, Em7 Easy key C (capo 7)
No ratings yet
or your user informations
Make it yours
Text size
Key: G | Em
Capo: 0
Bm7 Am7 Bm7 Am7
Bm7 Am7
Çabaladım bir yere varmadı
Bm7 Am7
Gördüm ki aşk seni de sarmadı ben gibi
Bm7 Am7
Kimse de halimi sormadı
Bm7 Am7
Sormasa da hiçbiri yormadı sen gibi
Bm7 Am7
Yolumuzun nesi uzun anlat
Bm7 Am7
Yalanla, elde kalanla yaşıyoruz
Bm7 Am7
Sonumuzu görüyorum anla
Bm7 Am7
Damla damla zamanla eriyoruz
Em7 Am7 Bm7
Ah, havada kadehim yine
Am7 Bm7
Sana içiyorum diye
Am7 Bm7
Yalnızlık biçiyorum
Em7 Am7 Bm7
Ayy, ya kış ya sonbahar niye
Am7 Bm7
Bakmadım hiç mevsimine
Am7 Bm7
Ben yazı bilmiyorum
End of song Play again?
Zeynep Bastık - Aşkın Mevsimi (Oğuzhan Koç) Tabs
NotesX
Harmony analysis
Zeynep Bastık – Aşkın Mevsimi (Oğuzhan Koç): key and chord analysis
The song opens on Bm7 and ends on Bm7. 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 2 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | — |
| ii7 | Am7 | Supertonic — prepares the dominant | A · C · E · G | 16× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 16× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | — |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| vi7 | Em7 | Relative minor — the melancholy side | E · G · B · D | 2× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Em7 | Tonic — home | E · G · B · D | 2× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| iv7 | Am7 | Subdominant — moves away from home | A · C · E · G | 16× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 16× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | — |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | — |
Analysis
The key pair is G major and its relative E minor (1 sharp). 3 different chords appear 34 times in total; 3 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
- Am7 Em7 Gii7 → vi7 Emiv7 → i7minor plagal ×1
- Bm7 Em7 Giii7 → vi7 Emv7 → i7natural-minor cadence ×1
The move to watch is Am7 → Em7, heard once. From the Em side it is iv7 → i7 (minor plagal: deep and melancholic); from the G side it reads ii7 → vi7. 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 Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Em7, land on E, G, B — 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 first chord is Bm7; the ear learns where home is within a second. The chords that keep coming back are Bm7, Am7, Em7; read them as iii7–ii7–vi7 in G or v7–iv7–i7 in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am7 → Em7 (ii7 → vi7 in G, iv7 → i7 in Em): minor plagal — deep and melancholic. The final chord is Bm7; 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.
Zeynep Bastık - Aşkın Mevsimi (Oğuzhan Koç) 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.
Repertoires with this song
Similar songs, ready to play: pick a list.
Lyrics: Oğuzhan Koç
Çağrı TelkıvıranMusic: Oğuzhan Koç
Çağrı Telkıvıran
Çağrı TelkıvıranMusic: Oğuzhan Koç
Çağrı Telkıvıran
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.