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)
Eski Bando - Özlemek Zamanı - Chord
Key G major – E minor Chords Em, B, Am, E7 Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em Am Em Özlemin kalbimi yakar, bilmem orada ne arar Am Em B Em E7 Dar gelir hep sokaklar, derdim çok büyük dostlar Am Em B Em B Em Sıkar beni bu dört duvar, içimde bir sıkıntı var Em Am Em Gözlerimden yaş akar, bilmiyorum neye yarar Am Em B Em E7 Gülmesin bana onlar, inanın çok sevdim dostlar Am Em B Em B Em Yoksa beni kim anlar, iyi ki varsınız dostlar Em B Em Bilmiyorum ki nerdesin, belki bir başkasını sevdin Am Em B Em E7 Belki sen de benim gibiydin, hep kavuşamadan bekledin Am Em B Em B Em Belki sen de benim gibiydin, aşkını hep gizledin Em Am Em Kalbimde iki yol var, ikisi de ona çıkar Am Em B Em E7 Birinde hüzün beni sarar, diğerinde bir aşk başlar Am Em B Em B Em Birinde hüzün beni sarar, diğerinde bir aşk başlar Em Am Em Artık tek bir yol var, yoksa iki gönül de yanar Am Em B Em E7 Hasret kaldığım anlar, ayırmayın bizi dostlar Am Em B Em B Em Hasret kaldığım anlar, ayırmayın bizi dostlar
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Eski Bando - Özlemek Zamanı Tabs
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Harmony analysis
Eski Bando – Özlemek Zamanı: key and chord analysis
The song opens on Em and ends on Em. 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 E minor side because it both starts and finishes on Em, Em is heard 35 times while G never appears 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 14× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | 16× |
| IV | C | Subdominant — moves away from home | C · E · G | — |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| vi | Em | Relative minor — the melancholy side | E · G · B | 35× |
| V7/ii | E7 | Secondary dominant V/ii — leads to Amsecondary dominant | E · G# · B · D | 5× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 35× |
| V7/iv | E7 | Secondary dominant V/iv — leads to Amsecondary dominant | E · G# · B · D | 5× |
| 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 | 14× |
| 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# | 16× |
| VI | C | Submediant — warm colour | C · E · G | — |
| 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). 4 different chords appear 70 times in total; 2 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 is V/vi, a secondary dominant heading for Em. E7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- B Em GV/vi → vi EmV → iharmonic-minor cadence ×16
- Am Em Gii → vi Emiv → iminor plagal ×14
- E7 Am GV7/ii → iisecondary resolution EmV7/iv → iv ×5
The move to watch is B → Em, heard 16 times. From the Em side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the G side it reads V/vi → 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 B, land on B, D#, F# — 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.
- 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
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
The opening Em lays a solid floor for everything that follows. Em, B, Am, E7 carry the song: vi–V/vi–ii–V7/ii relative to G, i–V–iv–V7/iv relative to Em. 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 B → Em (V/vi → vi in G, V → i in Em): harmonic-minor cadence — the major V resolves dramatically. The final chord is Em; the ear comes to rest in Em.
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.
Eski Bando - Özlemek Zamanı 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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