Pera - Sensiz Olmaz - Chord

Key G major – E minor Chords Em7, D, Bm7, A Easy key F (capo 2)

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Capo 0

Em7           D
Ateşin içimde yan benimle,
Em7          D
Ölmeye geldim de, öl benimle,
Em7          D
Sensiz ömrümün bu son deminde,
Em7          D
Zehir olsan gel, bal seninle,
Em7        D
Sarhoş eder tenin meyhane,
Em7         D
Duruşun yeter koskoca aleme
Em7              D
Sana değilse aşk, inan haybeye,
Em7          D                    
Sensiz olmaz, sensiz olmaz 
Em7      D
Sensiz olmaz

Em7        D     
Yağmasın yağmur yüzüme,
Em7        D
Değmesin rüzgar tenime,
Em7       D
El değmesin elime,
Bm7        A
Senden başka.

Em7          D
Senin tadın yok hiç bir şeyde,
Em7        D
Ne cigaramda, ne de içkimde,
Em7          D
Sensiz gecemin son nefesinde,
Em7          D
Kabus olsan gel güzel bir düş seninle,
Em7              D
Yıldızlar yağıyor üzerine,
Em7         D
Deniz kokusu var saçının her telinde,
Em7             D
Sana değilse aşk, inan haybeye,
Em7          D
Sensiz olmaz, sensiz olmaz.
Em7         D
Sensiz olmaz, sensiz olmaz.
Em7        D
Sensiz olmaz

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Pera - Sensiz Olmaz Tabs

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Harmony analysis

Pera – Sensiz Olmaz: key and chord analysis

The song opens on Em7 and ends on D. 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 22 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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	—
ii	Am	Supertonic — prepares the dominant	A · C · E	—
V/V	A	Secondary dominant V/V — leads to Dsecondary dominant	A · C# · E	1×
iii7	Bm7	Mediant — a tonic-family shade	B · D · F# · A	1×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	—
V	D	Dominant — strongest pull home	D · F# · A	22×
vi7	Em7	Relative minor — the melancholy side	E · G · B · D	22×
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	22×
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	—
IV	A	Major IV — Dorian / melodic-minor colourmodal colour	A · C# · E	1×
v7	Bm7	Minor dominant — soft pull	B · D · F# · A	1×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	—
VII	D	Subtonic — steps back to the tonic	D · F# · A	22×

Analysis

The key pair is G major and its relative E minor (1 sharp). 4 different chords appear 46 times in total; 3 of them sit naturally inside the shared scale. A acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

D Em7 GV → vi7deceptive cadence EmVII → i7Aeolian arrival ×20

The move to watch is D → Em7, heard 20 times. From the Em side it is VII → i7 (Aeolian arrival: rises a whole tone into home); from the G side it reads V → vi7 (deceptive cadence: expected G, lands on Em). 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 Em7, land on E, G, B — the chord's own tones always sound right on strong beats.
Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
Over Bm7, land on B, D, F# — 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

2 semitones down · capo 2 keeps the original pitch
5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

Starting on Em7, the song gives away its key from the very first bar. The backbone is Em7, D, Bm7, A — vi7–V–iii7–V/V from the G side, i7–VII–v7–IV from the Em side. A adds a moment of surprise: secondary dominant V/V — leads to D. Keep an ear on D → Em7 (V → vi7 in G, VII → i7 in Em): Aeolian arrival — rises a whole tone into home. Ending on D, 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.