Özer Atik - Yok Böyle Bir Şey - Chord

Key G major – E minor Chords B7, Em, C, D, Am, G Difficulty already in its easiest key

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Capo 0

Em             D   
Kaç gündür uykusuz gözlerim
C                       B7
Geceleri uyumak yerine sana uyuyorum
Em                      D
Kaç bahardır aşktan mahrum yüreğim
C                      B7
Kendimi sevmek yerine seni seviyorum
C         B7         Em
Çok değil inan senin için

Em                    Am
Başımdan ne rüzgarlar esti
D                        G            B7
Poyrazlara karayellere, kara yaslara durdum
Em                   Am
Ne sevdalar ömrümü tüketti
D                       G            B7
Ne şarkılar ne masallar ne yalanlar duydum
    C                B7                      Em
Ben hep buydum böyleydim, bir tek sana yetemedim

Em           D        B7           C
Yolunu kaybedip dünyaya düşmüş bir meleksin
Am                       B7             Em
Bana beni sevme diyorsun yok böyle bir şey
Em          D          B7        C
Vazgeçerim sanıyorsan kendini kandırıyorsun
Am                    B7            Em
Vazgeçilir mi senden yok böyle bir şey

Am
Nasıl olsun
      B7      C
Nasıl olsa geçer diyorsan
                  B7
Geçmez bir tanem, vazgeçmez yüreğim
C                 B7                 C
Sen orda durdukça pes etmez yüreğim yar
B7             Em
Yok böyle bir şey

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Harmony analysis

Özer Atik – Yok Böyle Bir Şey: 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.

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 both starts and finishes on Em, Em is heard 11 times against 2 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	2×
ii	Am	Supertonic — prepares the dominant	A · C · E	5×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V7/vi	B7	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F# · A	14×
IV	C	Subdominant — moves away from home	C · E · G	9×
V	D	Dominant — strongest pull home	D · F# · A	6×
vi	Em	Relative minor — the melancholy side	E · G · B	11×
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	11×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	2×
iv	Am	Subdominant — moves away from home	A · C · E	5×
v	Bm	Minor dominant — soft pull	B · D · F#	—
V7	B7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F# · A	14×
VI	C	Submediant — warm colour	C · E · G	9×
VII	D	Subtonic — steps back to the tonic	D · F# · A	6×

Analysis

The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 47 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 B7 is V7/vi, a secondary dominant heading for Em.

Chord movement

B7 Em GV7/vi → visecondary resolution EmV7 → iharmonic-minor cadence ×7
Am B7 Gii → V7/vi Emiv → V7iv → V ×3
D G GV → Iauthentic cadence EmVII → III ×2
Am D Gii → Vii → V Emiv → VII ×2

The move to watch is B7 → Em, heard 7 times. From the Em side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the G side it reads V7/vi → vi (secondary resolution: B7 resolves a fourth up to 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 B7, land on B, D#, F# — 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.
Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
When B7 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 Em lays a solid floor for everything that follows. The chords that keep coming back are B7, Em, C, D; read them as V7/vi–vi–IV–V in G or V7–i–VI–VII in Em. B7 is the interesting twist: in G it is a chromatic chord (V7/vi), while in Em it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on B7 → Em (V7/vi → vi in G, V7 → i in Em): harmonic-minor cadence — the major V resolves dramatically. Ending on Em, the song seals Em 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.