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)
Bulutsuzluk Özlemi - Tepedeki Çimenlik - Chord
Key G major – E minor Chords D, C, G, A, B, Am Difficulty already in its easiest key
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Key: G | Em
Capo: 0
G D C D
Tepedeki çimenlikte yalınayak dolaşarak
G D C D
Yemyeşille masmavinin ortasında uzanarak
C A D B
Hayaller kurarak, rüzgara savurarak
Am
Vazgeçmek birdenbire, vazgeçmek her şeyden
G D C D
Tepedeki çimenlikten seyreylemek şu alemi
G D C D
Küçülmüş ufacık olmuş insanların halini
C A D B
Bir buluta tutunup bir kuşun kanadına takılmak
Am
Vazgeçmek birdenbire her şeyden vazgeçmek
G C G C
Sadece gökyüzü, sadece deniz
G D C D
Sadece sen ve ben, sadece sevgii
G
Hepsi bu
End of song Play again?
Bulutsuzluk Özlemi - Tepedeki Çimenlik Tabs
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Harmony analysis
Bulutsuzluk Özlemi – Tepedeki Çimenlik: key and chord analysis
The song opens on G and ends on G. 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)
- #7 = D# (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 major side because it both starts and finishes on G, G is heard 8 times while Em never appears and the major V chord points straight at Em. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.
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 | 8× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 2× |
| V/V | A | Secondary dominant V/V — leads to Dsecondary dominant | A · C# · E | 2× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| III | B | Chromatic colour chordoutside the key | B · D# · F# | 2× |
| IV | C | Subdominant — moves away from home | C · E · G | 9× |
| V | D | Dominant — strongest pull home | D · F# · A | 12× |
| vi | Em | Relative minor — the melancholy side | E · G · B | — |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | — |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 8× |
| iv | Am | Subdominant — moves away from home | A · C · E | 2× |
| IV | A | Major IV — Dorian / melodic-minor colourmodal colour | A · C# · E | 2× |
| v | Bm | Minor dominant — soft pull | B · D · F# | — |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | 2× |
| VI | C | Submediant — warm colour | C · E · G | 9× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 12× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 35 times in total; 4 of them sit naturally inside the shared scale. The major V of Em brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull. A acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- C D GIV → VIV → V EmVI → VIIVI → VII ×5
- D G GV → Iauthentic cadence EmVII → III ×3
- C G GIV → Iplagal cadence EmVI → III ×2
The move to watch is C → D, heard 5 times. From the G side it reads IV → V (IV → V: the lift that builds tension before home); from the Em side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
- When B comes, swap the scale's D for D#: 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 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
The song is already written in its easiest key for guitar.
The song's harmonic story
The opening G lays a solid floor for everything that follows. The chords that keep coming back are D, C, G, A; read them as V–IV–I–V/V in G or VII–VI–III–IV in Em. B is the interesting twist: in G it is a chromatic chord (III), while in Em it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on C → D (IV → V in G, VI → VII in Em): IV → V — the lift that builds tension before home. It closes on G, letting the G 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.
Bulutsuzluk Özlemi - Tepedeki Çimenlik 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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