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)
Ahmet Kaya - Özgür Çağrı - Chord
Key G major – E minor Chords Bm, Em, C, Am, D Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em Bm Em Bm Em C D Am Bm Bm C Am Bm Bm Sana yalan söyleyemem Em Bm Darılırsın yavrucağım Em Bm Ağabeyin bir gün dağdan döner C Bm Sarılırsın yavrucağım Em Bm Ağabeyin bir gün dağdan döner Am Bm Sarılırsın yavrucağım Bm Giden gelmez, geri dönmez Em Bm Bilmiyormusun yavrucağım Em Bm Sen üzülme, sıra bende C Bm Gideceğim yavrucağım Em Bm Sen üzülme, sıra bende Am Bm Gideceğim yavrucağım Elverir ki çoşku Haylaz çocuklarını boğazlamasın Avunmak elbette kolaydır Şehri yiğit bir türkü gibi dolaşmak Dağlara destanlar, düşünmek kolaydır Hapislere bir sevinç çığlığı gibi düşmek Kızların diri gögüslerinde Matbaalarda Ve kongre zabıtlarında dünyayı tazelemek Yeryüzüne depremler düşürmek Çünkü binlerce militanın rüzgarlı macerası Bir kurşun bile değildir namusun mavzerine Gönlün kahpeliğine tutsaksın açıkçası Asıl savaş alanı suskundur arkadaş Sahipsizdir Asıl savaşcılar afyonlu, mütevekkil Öyleyse Şehrin girdabında çalkalanan zulüm Halkın şanlı isyanına işaret değil Bodrum duvarlarına öfkeli yazıları Tırnaklarınla kazıyorsan da
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Ahmet Kaya - Özgür Çağrı Tabs
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Harmony analysis
Ahmet Kaya – Özgür Çağrı: 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.
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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 4× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 17× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 4× |
| V | D | Dominant — strongest pull home | D · F# · A | 1× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 9× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| 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 | 4× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 17× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 4× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 1× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 35 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
- C D GIV → VIV → V EmVI → VIIVI → VII ×1
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 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.
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. Bm, Em, C, Am carry the song: iii–vi–IV–ii relative to G, v–i–VI–iv 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. 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.
Ahmet Kaya - Özgür Çağrı 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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Lyrics: Ahmet Kaya
Şiir:Orhan KotanMusic: Ahmet Kaya
Şiir:Orhan KotanMusic: Ahmet Kaya
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