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)
Oğuzhan Koç - Beni İyi Sanıyorlar - Chord
Key G major – E minor Chords Bm, Am, C, Em Easy key C (capo 7)
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Key: G | Em
Capo: 0
Bm Am Bm Am
Bm Am Bm Am
Uzun oldu gideli sen, ne de koydu ah bir bilsen
Bm Am Bm Am C
Beni sorarsan iyi işte, nasıl olunursa öyleyim ayrıldıktan sonra
Bm Am Bm
Her şey aynı aynı kuşlar, karanfiller hepsinin selamı var sana
Bm Am Bm Am
Ne de zormuş başa çıkmak, yokluğunla kucaklaşmak
Bm Am Bm Am C
Kime sorarsan seni andım, bitti dedim gitti halimden anlar sandım
Bm Am Bm
Haklı belki herkes kendi derdinde ya, bir ben mi varım bu dünyada
Em Bm Am Bm
Ağlamadım diye sormadılar, beni iyi sanıyorlar iyi sanıyorlar
C Bm Am Bm
Unutursun iki gün sonra adını diyorlar onun, unutmam
C Bm Am Bm
Unutursun iki gün sonra adını diyorlar onun
Ara: Em Bm Am Bm C Am Bm Em Bm C Am Bm
Bm
Hepsinin selamı var sana
Bm Am Bm Am
Ne de zormuş başa çıkmak, yokluğunla kucaklaşmak
Bm Am Bm Am C
Kime sorarsan seni andım, bitti dedim gitti halimden anlar sandım
Bm Am Bm
Haklı belki herkes kendi derdinde ya, bir ben mi varım bu dünyada
Em Bm Am Bm
Ağlamadım diye sormadılar, beni iyi sanıyorlar iyi sanıyorlar
C Bm Am Bm Am
Unut artık adını diyorlar onun, unutmam
C Bm Am Bm
Unutursun iki gün sonra adını diyorlar onun, unutmam
C Bm Am Bm
Kurudum beni bitiren o aşkın adına diyorlar oyun
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Oğuzhan Koç - Beni İyi Sanıyorlar Tabs
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Harmony analysis
Oğuzhan Koç – Beni İyi Sanıyorlar: key and chord analysis
The song opens on Bm and ends on Bm. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the E minor side because Em is heard 2 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 25× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 35× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 8× |
| V | D | Dominant — strongest pull home | D · F# · A | — |
| vi | Em | Relative minor — the melancholy side | E · G · B | 2× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 2× |
| 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 | 25× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 35× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 8× |
| 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; 4 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 ×2
The move to watch is Bm → Em, heard 2 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 Am, land on A, C, E — 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.
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 Bm, the song gives away its key from the very first bar. Bm, Am, C, Em carry the song: iii–ii–IV–vi relative to G, v–iv–VI–i relative to Em. 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. The final chord is Bm; the ear comes to rest in G.
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.
Oğuzhan Koç - Beni İyi Sanıyorlar 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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