Onur Koç - Saatler Sen Geçe - Chord

Key G major – E minor Chords Bm, Cmaj7, Em, Am, C Easy key C (capo 7)

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Capo 0

Em   Bm   Em   Bm   Em   Bm   Am

Am           Bm       Cmaj7           Bm
Bir gece bir rüyada, düşüversen karşıma
C             Bm           Cmaj7     Bm
İşte sevgilim ben geldim, der misin, der misin
Am        Bm           Cmaj7    Bm
Sonra elimi tutup beraber uyansak 
C             Bm            Cmaj7         Bm
Her gece saatler sen geçe gelir misin gelir misin

Cmaj7          Bm       C       Bm
Sen yine yine sen yine susmadın gönlümde
Cmaj7          Bm          Am          Bm
Ben yine yine ben yine vazgeçmedim ki senden

Em         Bm     Em        Bm
Susma yüreğim durma sen ne olur 
     Em             Bm       C       Bm
Hadi haykır tüm dünyaya o benimdi ne oldu
Em        Bm     Em         Bm
Susma yüreğim durma sen ne olur
Em                 Bm        Am            Bm
Hadi saydır tüm yollara onu sevdim de ne oldu 

Am             Bm               Cmaj7      Bm
Martılar bile sus pus oldu sen gittiğin o günde 
Am            Bm           Cmaj7     Bm    
Tüm kelimeler yandı artık külleri kalbimde
C           Bm             Cmaj7    Bm
Gözlerin dalmıyor mu artık her gece o köşeye 
C                Bm          Cmaj7         Bm
Oysa görmeden sevmiştin beni hani nerde e hani nerde

End of song Play again?

Onur Koç - Saatler Sen Geçe Tabs

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Harmony analysis

Onur Koç – Saatler Sen Geçe: key and chord analysis

The song opens on Em and ends on Bm. 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 9 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	7×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	31×
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	10×
IV	C	Subdominant — moves away from home	C · E · G	6×
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	9×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	9×
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	7×
v	Bm	Minor dominant — soft pull	B · D · F#	31×
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	10×
VI	C	Submediant — warm colour	C · E · G	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). 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

Bm Em Giii → vi Emv → inatural-minor cadence ×8

The move to watch is Bm → Em, heard 8 times. From the Em side it is v → i (natural-minor cadence: gentle, modal arrival); from the G side it reads iii → vi. 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 Bm, land on B, D, F# — 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.
Over Em, land on E, G, B — 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

The song's harmonic story

Starting on Em, the song gives away its key from the very first bar. The backbone is Bm, Cmaj7, Em, Am — iii–IVmaj7–vi–ii from the G side, v–VImaj7–i–iv from the Em side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bm → Em (iii → vi in G, v → i in Em): natural-minor cadence — gentle, modal arrival. It closes on Bm, 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.