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)
Akif Alkan - Çok Özledim - Chord
Key Bb major – G minor Chords Dm7, Cm7, Ebmaj7, Gm, Bb, F Easy key C
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Key: Bb | Gm
Capo: 0
Ebmaj7
Gm Dm7 Cm7 Dm7 Ebmaj7 Dm7 Cm7 Dm7
Ebmaj7 Dm7
Bir kırık kalbin ağrısı ellerimde
Cm7 Dm7
Senin o güzel ellerin yerine
Ebmaj7 Dm7
Unutup silerim, hiçbir şey yok gözümde
Cm7 Dm7
Satmışım gururumu, benim neyime
Cm7
Ama senden geçmem
Dm7
Geçemem ben
Cm7 Bb
Kırık kanatlarımla uçamam
Düşerim hemen
Cm7 Dm7
Utanırım, asla söyleyemem
Cm7 Bb F
Anla artık, tek çaremsin sen
Gm Dm7 Cm7
Bir kanar da bir acır yüreğim
Dm7
Sahibini tanır
Ebmaj7 Dm7 Cm7 Dm7
Senden başkasına sağır bu gönüüüüül
Gm Dm7
Vurgunum, çok özledim
Cm7 Dm7
Yoruldum, tökezledim
Ebmaj7 Dm7 Cm7 Dm7
Halimi sor istedim bir defa, olsun
End of song Play again?
Akif Alkan - Çok Özledim Tabs
NotesX
Harmony analysis
Akif Alkan – Çok Özledim: key and chord analysis
The song opens on Ebmaj7 and ends on Dm7. 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 Gm is heard 3 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× |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 12× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 18× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 6× |
| V | F | Dominant — strongest pull home | F · A · C | 1× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 3× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 3× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 2× |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 12× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 18× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 6× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 1× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 42 times in total; 6 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
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×1
- Ebmaj7 Gm BbIVmaj7 → vi GmVImaj7 → iVI → i ×1
- Dm7 Gm Bbiii7 → vi Gmv7 → inatural-minor cadence ×1
The move to watch is F → Gm, heard once. From the Gm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Bb side it reads V → vi (deceptive cadence: expected Bb, lands on Gm). 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 Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Ebmaj7, land on Eb, G, Bb — 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
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The opening Ebmaj7 lays a solid floor for everything that follows. The chords that keep coming back are Dm7, Cm7, Ebmaj7, Gm; read them as iii7–ii7–IVmaj7–vi in Bb or v7–iv7–VImaj7–i in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → Gm (V → vi in Bb, VII → i in Gm): Aeolian arrival — rises a whole tone into home. The final chord is Dm7; the ear comes to rest in Bb.
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.
Akif Alkan - Çok Özledim 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: Akif AlkanMusic: Akif Alkan
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