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)
Onur Can Özcan - Deniz Kızı x Hakan Alıkçı - Chord
Key G major – E minor Chords Am7, Em7, Bm7, Cmaj7, D Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em7 Am7 Cmaj7 Bm7
Gökyüzü huzuuuuuuuur güneşin kızılken
Em7 Am7 Cmaj7
Nasıl ısındım karaya
Bm7
Sen deniz kızıyken
Am7 D Em7
Ben yüzme bilmezken
Am7 D Em7
Sen hissiz kalmışken
Cmaj7
Zor alışması, barışması
Am7
Yeniden karışması
D Bm7
Bi dost lazım acilen
Em7 Am7 Bm7
Ağlıyo bu gece bu adam
Cmaj7
Anılar acıtıyo hiç durmadan
Am7 Bm7
Dolanıyo heceler boğazıma
Em7
Susuyorum sebebi ağlamam
Cmaj7
Zor alışması, barışması
Am7
Yeniden karışması
D Bm7
Bi dost lazım acilen
Em7 Am7 Bm7
Ağlıyo bu gece bu adam
Cmaj7
Anılar acıtıyo hiç durmadan
Am7 Bm7
Dolanıyo heceler boğazıma
Em7
Susuyorum sebebi ağlamam
Em7
Susuyorum sebebi, zor
End of song Play again?
Onur Can Özcan - Deniz Kızı x Hakan Alıkçı Tabs
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Harmony analysis
Onur Can Özcan – Deniz Kızı x Hakan Alıkçı: key and chord analysis
The song opens on Em7 and ends on Em7. 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 it both starts and finishes on Em and Em is heard 9 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 | 10× |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 8× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IVmaj7 | Cmaj7 | Subdominant — moves away from home | C · E · G · B | 6× |
| V | D | Dominant — strongest pull home | D · F# · A | 4× |
| vi7 | Em7 | Relative minor — the melancholy side | E · G · B · D | 9× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Em7 | Tonic — home | E · G · B · D | 9× |
| 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 | 10× |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 8× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VImaj7 | Cmaj7 | Submediant — warm colour | C · E · G · B | 6× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 4× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 37 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
- Bm7 Em7 Giii7 → vi7 Emv7 → i7natural-minor cadence ×5
- Am7 D Gii7 → Vii → V Emiv7 → VII ×4
- D Em7 GV → vi7deceptive cadence EmVII → i7Aeolian arrival ×2
The move to watch is Bm7 → Em7, heard 5 times. From the Em side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the G side it reads iii7 → 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 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.
- Over Bm7, 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
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The first chord is Em7; the ear learns where home is within a second. The backbone is Am7, Em7, Bm7, Cmaj7 — ii7–vi7–iii7–IVmaj7 from the G side, iv7–i7–v7–VImaj7 from the Em side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm7 → Em7 (iii7 → vi7 in G, v7 → i7 in Em): natural-minor cadence — gentle, modal arrival. Ending on Em7, the song seals Em 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.
Onur Can Özcan - Deniz Kızı x Hakan Alıkçı 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: Hakan AlıkçıMusic: Hakan Alıkçı
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