Sakiler - Olmaz - Chord

Key G major – E minor Chords Bm, Am, Em, C, D Easy key C (capo 7)

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Capo 0

Am  Em  C  D  Em  Am  C  D  Em

Em              Am
Git beni düşünme git
             Bm
Kalbimi de götür
               Am
Zaten sende kalsın
          Bm
Çok yormuşsun çok üzmüşsün

Em             C
Git güvenimi götür
           Bm
İnancımı öldür
                Am
Son umuda bir tokatta
          Bm
Senden olsun vur

  Em  Bm
Olmaz
          C     Bm
Bu bize yapılmaz
            Am     C
Kalbim uslu durmaz
              Bm  
Bir çılgınlık yapar

  Em   Bm
Olmaz
          C     Bm
Bu bize yakışmaz
            Am     C
Kalbim uslu durmaz
             Bm
Bi çılgınlık yapar

     Am      Bm       Em
Korkarım aşkımın şiddetinden

Em               Am
Duy sessiz çığlığım bu
           Bm
Nadir bulunur su
          Am
Düşünmediğin mevsimlere
          Bm
Renk katmışız biz

Em            AmC
Artık biz yok mudur
         Bm
Ölümü gör otur
       Am
Öyküme ömrünü kat
        Bm   
İhtiyaç budur

  Em  Bm
Olmaz
          C     Bm
Bu bize yapılmaz
            Am     C
Kalbim uslu durmaz
              Bm  
Bir çılgınlık yapar

  Em   Bm
Olmaz
          C     Bm
Bu bize yakışmaz
            Am     C
Kalbim uslu durmaz
             Bm
Bi çılgınlık yapar

End of song Play again?

Sakiler - Olmaz Tabs

NotesX

Harmony analysis

Sakiler – Olmaz: key and chord analysis

The song opens on Am 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 Em is heard 11 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#	21×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	11×
V	D	Dominant — strongest pull home	D · F# · A	2×
vi	Em	Relative minor — the melancholy side	E · G · B	11×
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	11×
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#	21×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	11×
VII	D	Subtonic — steps back to the tonic	D · F# · A	2×

Analysis

The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 58 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

Bm Em Giii → vi Emv → inatural-minor cadence ×6
D Em GV → videceptive cadence EmVII → iAeolian arrival ×2
C D GIV → VIV → V EmVI → VIIVI → VII ×2
Am Em Gii → vi Emiv → iminor plagal ×1

The move to watch is Bm → Em, heard 6 times. From the Em side it is v → i (natural-minor cadence: gentle, modal arrival); from the G side it reads iii → 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 Bm, land on B, D, F# — 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 Em, 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 opening Am lays a solid floor for everything that follows. The backbone is Bm, Am, Em, C — iii–ii–vi–IV from the G side, v–iv–i–VI from the Em side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm → Em (iii → vi in G, v → i in Em): natural-minor cadence — gentle, modal arrival. 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.