Volkan Konak - Ömrüm - Chord

Key Bb major – G minor Chords Ebmaj7, F, Cm7, Gm7, D7, Dm7, Bbmaj7 Easy key C

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Capo 0

Dm7                  Ebmaj7           F
Yollarıma sıra dağlar sıralandı, gelmedin yâr
Bbmaj7   Gm7         Ebmaj7        D7
Saçlarıma yaz baharda karlar yağdı, görmedin yâr

Gm7                     Ebmaj7            F
Yıllar geçti ne haldeyim, kimlerleyim, bilmedin yâr
Ebmaj7  Cm7          Ebmaj7      D7
Hazana   yoldaş oldu, cahil ömrüm vay
x2

        Gm7          F
Sevdaya düştü gitti, ömrüm ömrüm
Dm7       F           Ebmaj7
Bir kuştu uçtu gitti, ömrüm ömrüm
Cm7      F            Bbmaj7
Bahardan göçtü gitti, ömrüm ömrüm
Ebmaj7  Cm7          F           D7
Hazana   yoldaş oldu, cahil ömrüm vay
x2

Gm7  F  Dm7  F  Ebmaj7  Cm7  F  Bbmaj7  Ebmaj7  Cm7  F  D7
x2

Dm7                  Ebmaj7         F
Kör gecenin ortasında yandım gittim, duymadın yâr
Bbmaj7    Gm7           Ebmaj7         D7
Yüz yerimden yaralandım, bir gün gelip sarmadın yâr

Gm7                   Ebmaj7       F
Yollarıma pusu kurdun, gelip geçtin vurmadın yâr
Ebmaj7  Cm7          Ebmaj7      D7
Hazana   yoldaş oldu, cahil ömrüm vay
x2

        Gm7          F
Sevdaya düştü gitti, ömrüm ömrüm
Dm7       F           Ebmaj7
Bir kuştu uçtu gitti, ömrüm ömrüm
Cm7      F            Bbmaj7
Bahardan göçtü gitti, ömrüm ömrüm
Ebmaj7  Cm7          F           D7
Hazana   yoldaş oldu, cahil ömrüm vay
x2

End of song Play again?

Volkan Konak - Ömrüm Tabs

NotesX

Harmony analysis

Volkan Konak – Ömrüm: key and chord analysis

The song opens on Dm7 and ends on D7. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

Major view

Bb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = A (leading tone, pulls home)
4 = Eb (the note that leans on the 3rd)

Minor view

G minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Eb (the minor's melancholy)
b7 = F (natural-minor colour)
#7 = F# (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the G minor side because Gm is heard 7 times against 5 for Bb and the major V chord points straight at Gm. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 Bb major
Degree	Chord	Role	Notes	In song
Imaj7	Bbmaj7	Tonic — home	Bb · D · F · A	5×
ii7	Cm7	Supertonic — prepares the dominant	C · Eb · G · Bb	8×
iii7	Dm7	Mediant — a tonic-family shade	D · F · A · C	5×
V7/vi	D7	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A · C	7×
IVmaj7	Ebmaj7	Subdominant — moves away from home	Eb · G · Bb · D	16×
V	F	Dominant — strongest pull home	F · A · C	16×
vi7	Gm7	Relative minor — the melancholy side	G · Bb · D · F	7×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i7	Gm7	Tonic — home	G · Bb · D · F	7×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
IIImaj7	Bbmaj7	Relative major — the bright side	Bb · D · F · A	5×
iv7	Cm7	Subdominant — moves away from home	C · Eb · G · Bb	8×
v7	Dm7	Minor dominant — soft pull	D · F · A · C	5×
V7	D7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A · C	7×
VImaj7	Ebmaj7	Submediant — warm colour	Eb · G · Bb · D	16×
VII	F	Subtonic — steps back to the tonic	F · A · C	16×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 7 different chords appear 64 times in total; 6 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D7 is V7/vi, a secondary dominant heading for Gm.

Chord movement

Cm7 F Bbii7 → Vii → V Gmiv7 → VII ×6
F Bbmaj7 BbV → Imaj7authentic cadence GmVII → IIImaj7 ×5
D7 Gm7 BbV7/vi → vi7secondary resolution GmV7 → i7harmonic-minor cadence ×5
Ebmaj7 F BbIVmaj7 → VIV → V GmVImaj7 → VIIVI → VII ×4

The move to watch is Cm7 → F, heard 6 times. From the Gm side it is iv7 → VII; from the Bb side it reads ii7 → V (ii → V: the classic preparation of the dominant). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
Over Ebmaj7, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
Over Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
When D7 comes, swap the scale's F for F#: that single note is the harmonic-minor sound of the chord.

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 Bb major shapes

Capo 1 + A shapes
Capo 3 + G shapes
Capo 6 + E shapes

With G minor shapes

Capo 3 + Em shapes
Capo 5 + Dm shapes

Easiest keys on guitar

2 semitones up
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

The first chord is Dm7; the ear learns where home is within a second. Ebmaj7, F, Cm7, Gm7 carry the song: IVmaj7–V–ii7–vi7 relative to Bb, VImaj7–VII–iv7–i7 relative to Gm. D7 is the interesting twist: in Bb it is a chromatic chord (V7/vi), while in Gm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Cm7 → F (ii7 → V in Bb, iv7 → VII in Gm): ii → V — the classic preparation of the dominant. Ending on D7, the song seals Bb 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.