Güven Yüreyi - Özene Bezene - Chord

Key G major – E minor Chords Bm7, Am7, Em7, Gmaj7, Cmaj7 Easy key C (capo 7)

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Capo 0

Em7                   Am7             Bm7
 Yapma gurursuz muyum sevmedin bile bile
Em7             Am7                   Bm7
Yorma, tutuldum bir kere sevdim özene bezene

Bm7      Em7         Am7        Bm7
Çok emek verdim büyüttüm içimde sev diye
          Em7       Am7         Bm7
Bir görsen halimi beterim sen diye diye

Bm7              Em7
Ne yaptım Allah’ım nasıl bir ceza
Am7                Bm7
Sevdim hak etmedim ben böyle veda
Gmaj7       Em7
Yaşamadan ölme aynı kaderi
Am7               Bm7
Sevmem bir daha asla senin gibi birini

Bm7  Em7 Am7  Bm7  Gmaj7  Em7  Am7  Bm7

Em7                Am7          Bm7
 Bilemem ben gün yüzünü görür müyüm
Em7               Am7          Bm7
Her gördüğümde baktığımda sövdüğüm

Em7           Cmaj7             Am7
Söyle mutlu musun bir çare kördüğüm
Am7           Bm7
Acılar içinde öldüm

Bm7              Em7
Ne yaptım Allah’ım nasıl bir ceza
Am7                Bm7
Sevdim hak etmedim ben böyle veda
Gmaj7       Em7
Yaşamadan ölme aynı kaderi
Am7               Bm7
Sevmem bir daha asla senin gibi birini

End of song Play again?

Güven Yüreyi - Özene Bezene Tabs

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Harmony analysis

Güven Yüreyi – Özene Bezene: key and chord analysis

The song opens on Em7 and ends on Bm7. 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 13 times against 3 for G. 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
Imaj7	Gmaj7	Tonic — home	G · B · D · F#	3×
ii7	Am7	Supertonic — prepares the dominant	A · C · E · G	14×
iii7	Bm7	Mediant — a tonic-family shade	B · D · F# · A	17×
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	1×
V	D	Dominant — strongest pull home	D · F# · A	—
vi7	Em7	Relative minor — the melancholy side	E · G · B · D	13×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i7	Em7	Tonic — home	E · G · B · D	13×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
IIImaj7	Gmaj7	Relative major — the bright side	G · B · D · F#	3×
iv7	Am7	Subdominant — moves away from home	A · C · E · G	14×
v7	Bm7	Minor dominant — soft pull	B · D · F# · A	17×
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	1×
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). 5 different chords appear 48 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 ×9

The move to watch is Bm7 → Em7, heard 9 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 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 opening Em7 lays a solid floor for everything that follows. The chords that keep coming back are Bm7, Am7, Em7, Gmaj7; read them as iii7–ii7–vi7–Imaj7 in G or v7–iv7–i7–IIImaj7 in Em. 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 Bm7, 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.