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)
İrem Derici - Kim Özleyecek - Chord
Key G major – E minor Chords Bm7, Em7, Cmaj7 Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em7 Bm7 Cmaj7 Bm7
Em7 Bm7
Tenim yanmış güneşinden kokunu sürebilirim
Cmaj7 Bm7
Sanki öpsen geçebilir ancak küle dönebilirim
Em7 Bm7
Hak ettiysem eyvallah, çeker giderim
Cmaj7 Bm7
Kendi buzumu kendim eritir, içer giderim
Em7
Kim özleyecek? Kim ağlayacak?
Bm7
Bensiz geceler biraz tuhaflaşacak
Cmaj7
Başka eller belimi sardığı zaman
Bm7
Aklım yerinden fırlayacak
x2
Em7
Dertli başım dönüyor
Bm7
Uçuyor bak dalgalarının üstünde
Cmaj7
Sarhoş eden beni sanma ki aşkın
Bm7
Nefret dolu bu kadehte
x2
Em7
Kim özleyecek? Kim ağlayacak?
Bm7
Bensiz geceler biraz tuhaflaşacak
Cmaj7
Başka eller belimi sardığı zaman
Bm7
Aklım yerinden fırlayacak
x2
End of song Play again?
İrem Derici - Kim Özleyecek Tabs
NotesX
Harmony analysis
İrem Derici – Kim Özleyecek: 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.
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 6 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 | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | — |
| iii7 | Bm7 | Mediant — a tonic-family shade | B · D · F# · A | 12× |
| 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 | — |
| vi7 | Em7 | Relative minor — the melancholy side | E · G · B · D | 6× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Em7 | Tonic — home | E · G · B · D | 6× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| iv | Am | Subdominant — moves away from home | A · C · E | — |
| v7 | Bm7 | Minor dominant — soft pull | B · D · F# · A | 12× |
| 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 | — |
Analysis
The key pair is G major and its relative E minor (1 sharp). 3 different chords appear 24 times in total; 3 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
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 Bm7, land on B, D, F# — 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 Cmaj7, land on C, E, G — 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
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
Starting on Em7, the song gives away its key from the very first bar. The chords that keep coming back are Bm7, Em7, Cmaj7; read them as iii7–vi7–IVmaj7 in G or v7–i7–VImaj7 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. The final chord is Bm7; the ear comes to rest in G.
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.
İrem Derici - Kim Özleyecek 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: Mert ÇodurMusic: Mert ÇodurArrangement: Kerem Akdağ
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