Güliz Ayla - Olmazsan Olmaz - Chord

Key G major – E minor Chords Em, Am, Bm, B, G, C, F#m, B7 Easy key C (capo 7)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Am  Em  Em  Em  Am  G  F#m  B  Em

Em  Bm                   Em
       Benim bura afet yeri
                        Am        Bm        Em
Yangın da var deprem de hangisini anlatayım ki
     Bm        Em
Kimmiş beni söndürecek
                   Am       Bm        Em
Ateşim dinsin diye okyanusa sığınamam ki

      C         Am       B
Sarılırım sarılırım bırakmam
    Am           C                    B7
Çağırırım çağırırım daha da sensiz yatmam

  Am               Em
Olmazsan olmaz büyümez çiçeklerim
   Am           G           F#m  B      Em
Toprağım havalanmaz kurur gider  bahçelerim

Am    Em    Am    G    B    Em

Em
Ah başıma gelen benim
                     Am        Bm      Em
Aşk oyun ben oyuncak söyle emrine amadeyim
     Bm     Em
Kimmiş beni susturacak
                        Am        Bm     Em
Duysun be dağlar taşlar çok seviyorum demiş miydim

      C         Am       B
Sarılırım sarılırım bırakmam
    Am           C                    B7
Çağırırım çağırırım daha da sensiz yatmam

  Am               Em
Olmazsan olmaz büyümez çiçeklerim
   Am           G           F#m  B      Em
Toprağım havalanmaz kurur gider  bahçelerim

End of song Play again?

Güliz Ayla - Olmazsan Olmaz Tabs

NotesX

Harmony analysis

Güliz Ayla – Olmazsan Olmaz: key and chord analysis

The song opens on Am and ends on Em. 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)
#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 E minor side because it comes to rest on Em, Em is heard 19 times against 4 for G and the major V chord points straight at Em. 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	4×
ii	Am	Supertonic — prepares the dominant	A · C · E	16×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	7×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	6×
V7/vi	B7	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F# · A	2×
IV	C	Subdominant — moves away from home	C · E · G	4×
V	D	Dominant — strongest pull home	D · F# · A	—
vi	Em	Relative minor — the melancholy side	E · G · B	19×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—
vii	F#m	Chromatic colour chordoutside the key	F# · A · C#	3×

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	19×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
ii	F#m	Chromatic colour chordoutside the key	F# · A · C#	3×
III	G	Relative major — the bright side	G · B · D	4×
iv	Am	Subdominant — moves away from home	A · C · E	16×
v	Bm	Minor dominant — soft pull	B · D · F#	7×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	6×
V7	B7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F# · A	2×
VI	C	Submediant — warm colour	C · E · G	4×
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). 8 different chords appear 61 times in total; 5 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; seen from G, the same B / B7 is V/vi, a secondary dominant heading for Em. F#m step outside the scale as colour chords.

Chord movement

Bm Em Giii → vi Emv → inatural-minor cadence ×7
B Em GV/vi → vi EmV → iharmonic-minor cadence ×4
Am Em Gii → vi Emiv → iminor plagal ×4
Am B Gii → V/vi Emiv → Viv → V ×2

The move to watch is Bm → Em, heard 7 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 Em, land on E, G, B — the chord's own tones always sound right on strong beats.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Bm, land on B, D, F# — 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

5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

The opening Am lays a solid floor for everything that follows. The backbone is Em, Am, Bm, B — vi–ii–iii–V/vi from the G side, i–iv–v–V from the Em side. B is the interesting twist: in G it is a chromatic chord (V/vi), while in Em it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Bm → Em (iii → vi in G, v → i in Em): natural-minor cadence — gentle, modal arrival. It closes on Em, letting the Em 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.