Major view
D major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C# (leading tone, pulls home)
- 4 = G (the note that leans on the 3rd)
Ceylan Koynat - Özlemden - Chord
Key D major – B minor Chords Gmaj7, Bm, A, F#m7 Easy key C (capo 2)
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Key: D | Bm
Capo: 0
Gmaj7 Bm A A
Gmaj7 Bm A
İçimde bir acı sana duyduğum özlemden
Gmaj7 Bm A
Bu his sanki kalıcı emin duruyor kendinden
Gmaj7
Son kez güle güle değişin
Bm
Yüzüme gözünü kapayışın
A
Ölüme nasıl olur gerçekten
Gmaj7
Bir daha duyamamak mı sesini
Bm
Sana uyanamamak mı
A
Nasıl hikaye
Aşk bunun neresinde
Gmaj7 Bm
Anlat gerçekleri anlat
F#m7
Birşeyler kaçırdım sen hakkında
Gmaj7 Bm
Sakınma korkma giden gitti artık
F#m7
Sakın beni zamana borçlu çıkartma
End of song Play again?
Ceylan Koynat - Özlemden Tabs
NotesX
Harmony analysis
Ceylan Koynat – Özlemden: key and chord analysis
The song opens on Gmaj7 and ends on F#m7. Its chords belong to both D major and Bm, so every chord below is read both ways.
Minor view
B minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = G (the minor's melancholy)
- b7 = A (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the B minor side because Bm is heard 7 times while D never appears. That is an interpretation, not a rule — the same chords are just as valid seen from D 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 D or to Bm; 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 | D | Tonic — home | D · F# · A | — |
| ii | Em | Supertonic — prepares the dominant | E · G · B | — |
| iii7 | F#m7 | Mediant — a tonic-family shade | F# · A · C# · E | 2× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IVmaj7 | Gmaj7 | Subdominant — moves away from home | G · B · D · F# | 7× |
| V | A | Dominant — strongest pull home | A · C# · E | 6× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 7× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 7× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | — |
| iv | Em | Subdominant — moves away from home | E · G · B | — |
| v7 | F#m7 | Minor dominant — soft pull | F# · A · C# · E | 2× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VImaj7 | Gmaj7 | Submediant — warm colour | G · B · D · F# | 7× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 6× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 4 different chords appear 22 times in total; 4 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
- Gmaj7 Bm DIVmaj7 → vi BmVImaj7 → iVI → i ×7
The move to watch is Gmaj7 → Bm, heard 7 times. From the Bm side it is VImaj7 → i (VI → i: falls a half step into home); from the D side it reads IVmaj7 → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
- Over Gmaj7, land on G, B, D — 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 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 D major shapes
- No capo — open D shapes
- Capo 2 + C shapes
- Capo 5 + A shapes
With B minor shapes
- Capo 2 + Am shapes
- Capo 7 + Em shapes
Easiest keys on guitar
- 2 semitones down · capo 2 keeps the original pitch
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
Starting on Gmaj7, the song gives away its key from the very first bar. Gmaj7, Bm, A, F#m7 carry the song: IVmaj7–vi–V–iii7 relative to D, VImaj7–i–VII–v7 relative to Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gmaj7 → Bm (IVmaj7 → vi in D, VImaj7 → i in Bm): VI → i — falls a half step into home. The final chord is F#m7; the ear comes to rest in D.
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.
Ceylan Koynat - Özlemden 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: Okan AlbayrakMusic: Okan AlbayrakArrangement: Okan Albayrak
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