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)
Taylan Özgür Ölmez - Bu Dağlar Kömürdendir (Taner Ölmez) - Chord
Key G major – E minor Chords Em, Am, Bm, D, C Easy key C (capo 7)
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Key: G | Em
Capo: 0
Em
Bu dağlar kömürdendir
Am Bm Em
Geçen gün ömürdendir
D C
Feleğin bir kuşu var
Am Bm Em
Pençesi demirdendir
Em D C
Hadi leylim leylalım
Am Bm Em
Ben yoluna kurbanım
Em D C
Ya al canım kurtulam
Am Bm Em
Ya ver derdin dermanım
Em
Bu yol Pasin’e gider
Am Bm Em
Döner tersine gider
D C
Şurda bir garip ölmüş
Am Bm Em
Kuşlar yasına gider
Em D C
Hadi leylim leylalım
Am Bm Em
Ben yoluna kurbanım
Em D C
Ya al canım kurtulam
Am Bm Em
Ya ver derdin dermanım
Em
Bir at bindim başı yok
Am
Bir çay geçtim taşa yok
D C
Burda bir yiğit ölmüş
Am Bm Em
Yanında gardaşı yok
Em D C
Hadi leylim leylalım
Am Bm Em
Ben yoluna kurbanım
Em D C
Ya al canım kurtulam
Am Bm Em
Ya ver derdin dermanım
End of song Play again?
Taylan Özgür Ölmez - Bu Dağlar Kömürdendir (Taner Ölmez) Tabs
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Harmony analysis
Taylan Özgür Ölmez – Bu Dağlar Kömürdendir (Taner Ölmez): 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)
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 and Em is heard 20 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 | 12× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 11× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | — |
| IV | C | Subdominant — moves away from home | C · E · G | 9× |
| V | D | Dominant — strongest pull home | D · F# · A | 9× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 20× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 20× |
| 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 | 12× |
| v | Bm | Minor dominant — soft pull | B · D · F# | 11× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | — |
| VI | C | Submediant — warm colour | C · E · G | 9× |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 9× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 61 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 ×11
- Am D Gii → Vii → V Emiv → VII ×1
The move to watch is Bm → Em, heard 11 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 Em, land on E, G, B — 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 Bm, land on B, D, F# — 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
The first chord is Em; the ear learns where home is within a second. The chords that keep coming back are Em, Am, Bm, D; read them as vi–ii–iii–V in G or i–iv–v–VII in 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. 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.
Taylan Özgür Ölmez - Bu Dağlar Kömürdendir (Taner Ölmez) 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: AnonimMusic: AnonimArrangement: Güldiyar Tanrıdağlı
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