Zara - Zeytinyağlı Yiyemem Aman - Chord

Key Bb major – G minor Chords Bb, Dm, F, Gm, Cm Easy key C

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Capo 0

Dm           Bb 
Zeytinyağlı yiyemem aman
                   Gm         Bb      F      Cm      Dm
Basmada fistan giyemem aman, basmada fistan giyemem aman
Dm          Bb                                 
Senin gibi cahile
                 Gm        Bb      F      Cm   Dm
Ben efendim diyemem aman, ben efendim diyemem aman

Bb      F         Gm        Bb       F     Cm   Dm
Kaldım duman içi dağlarda, sevgili yarim nerelerde

Dm          Bb
Kara üzüm asması
                  Gm   Bb        F    Cm   Dm
Ah yeşil olur yazması, ah yeşil olur yazması
Dm             Bb
Ben yarimden ayrılmam
                Gm      Bb         F    Cm    Dm
Ah kara yazı yazmasın, mevlam kara yazı yazmasın

Bb      F         Gm         Bb      F      Cm   Dm
Kaldım duman içi dağlarda, sevgili yarim nerelerde

Dm        Bb
Asmadan üzüm aldım
              Gm      Bb      F    Cm    Dm
Sandıkla çeyiz sardım, sandıkla çeyiz sardım
Dm          Bb
Verin benim yarimi
           Gm        Bb    F   Cm    Dm
Annemden izin aldım, annemden izin aldım

Bb      F         Gm         Bb      F      Cm   Dm
Kaldım duman içi dağlarda, sevgili yarim nerelerde

End of song Play again?

Zara - Zeytinyağlı Yiyemem Aman Tabs

NotesX

Harmony analysis

Zara – Zeytinyağlı Yiyemem Aman: key and chord analysis

The song opens on Dm and ends on Dm. 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Bb major side because Bb is heard 18 times against 9 for Gm. That is an interpretation, not a rule — hearing the same chords from G minor is just as valid and teaches you something different.

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
I	Bb	Tonic — home	Bb · D · F	18×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	9×
iii	Dm	Mediant — a tonic-family shade	D · F · A	15×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	—
V	F	Dominant — strongest pull home	F · A · C	12×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	9×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	9×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	18×
iv	Cm	Subdominant — moves away from home	C · Eb · G	9×
v	Dm	Minor dominant — soft pull	D · F · A	15×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	—
VII	F	Subtonic — steps back to the tonic	F · A · C	12×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 63 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

F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×3

The move to watch is F → Gm, heard 3 times. From the Bb side it reads V → vi (deceptive cadence: expected Bb, lands on Gm); from the Gm side it is VII → i (Aeolian arrival: rises a whole tone into home). 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 Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
Over Dm, land on D, F, A — 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.

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

Starting on Dm, the song gives away its key from the very first bar. The backbone is Bb, Dm, F, Gm — I–iii–V–vi from the Bb side, III–v–VII–i from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → Gm (V → vi in Bb, VII → i in Gm): deceptive cadence — expected Bb, lands on Gm. It closes on Dm, letting the Bb side have the last word.

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.