Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Oğuz Aksaç - Ömrüm - Chord
Key Bb major – G minor Chords Gm, Cm, F, Eb, Bb, Bm, Fm Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Gm Cm Gm Cm Gm Bb F Eb Gm
Gm F Gm
Bu dünyada türlü türlü dertleri gördüm
F Gm
Ömrüm boyu yar derdinden gözyaşı döktüm
F Gm
Gelen giden sille vurdu boynumu büktüm
Cm
Ben derdimi dağlara taşlara döktüm
Gm Cm Gm
Dağlar taşlar dedi bana yoktur derdin
Cm
Geçen yıllar vermiş derdini
Gm Bm
Tozlu yollar vermiş derdini
F
Yaban eller vermiş derdini
Eb Gm
Hayin kullar yemiş ömrünü
Gm Cm Gm Cm Gm Bb F Eb Gm
Gm Fm Gm
Her gün ah ile vah ile geçti bu ömrüm
F Gm
Dünyadan göçer giderim sayılı günüm
F Gm
Ecel kapıya gelipte dayandı bugün
Cm
Ben derdimi feleğe de söyledim
Gm Cm
Zalim felek der zamanı yoktur
Gm Cm
Ömrünü geçen yıllar yemiş ömrünü
Gm Bm
Tozlu yollar vermiş derdini
F
Yaban eller vermiş derdini
Eb Gm
Hayin kullar yemiş ömrünü
End of song Play again?
Oğuz Aksaç - Ömrüm Tabs
NotesX
Harmony analysis
Oğuz Aksaç – Ömrüm: key and chord analysis
The song opens on Gm and ends on Gm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G minor side because it both starts and finishes on Gm and Gm is heard 24 times against 2 for Bb. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 | Bb | Tonic — home | Bb · D · F | 2× |
| bii | Bm | Chromatic colour chordoutside the key | B · D · F# | 2× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 10× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 4× |
| V | F | Dominant — strongest pull home | F · A · C | 9× |
| v | Fm | Chromatic colour chordoutside the key | F · Ab · C | 1× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 24× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 24× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 2× |
| #iii | Bm | Chromatic colour chordoutside the key | B · D · F# | 2× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 10× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 4× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 9× |
| vii | Fm | Chromatic colour chordoutside the key | F · Ab · C | 1× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 7 different chords appear 52 times in total; 5 of them sit naturally inside the shared scale. Bm, Fm step outside the scale as colour chords.
Chord movement
- Cm Gm Bbii → vi Gmiv → iminor plagal ×10
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×5
- Eb Gm BbIV → vi GmVI → iVI → i ×4
The move to watch is Cm → Gm, heard 10 times. From the Gm side it is iv → i (minor plagal: deep and melancholic); from the Bb side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — 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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 3 semitones down · capo 3 keeps the original pitch
- 2 semitones up
The song's harmonic story
The first chord is Gm; the ear learns where home is within a second. Gm, Cm, F, Eb carry the song: vi–ii–V–IV relative to Bb, i–iv–VII–VI relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm → Gm (ii → vi in Bb, iv → i in Gm): minor plagal — deep and melancholic. Ending on Gm, the song seals Gm 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.
Oğuz Aksaç - Ömrüm 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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