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)
Zara - Zeytinyağlı Yiyemem Aman - Chord
Key Bb major – G minor Chords Bb, Dm, F, Gm, Cm Easy key C
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Key: Bb | Gm
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.
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.
| 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 | — |
| 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.
Zara - Zeytinyağlı Yiyemem Aman 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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