Onur Can Özcan - Küçücük Buseler - Chord

Key G major – E minor Chords Bm, Cmaj7, Em, D, G Easy key C (capo 7)

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Capo 0

Em  Cmaj7  Em  Cmaj7  Em

Em                       Bm
İlk gördüğümde, farklı dedim onun için
       Cmaj7              Bm
Diğerleri gibi değil, sadece benim dedim
     Em              Bm
Gözleri baktı gözlerime titredi
     Cmaj7          Bm
Gülümsedi bana delirdim

       Em              Bm
Rüyadaydım sanki haykırdım o anda
      Cmaj7      Bm
Seviyorum seni beni anla
      Cmaj7             Bm
Tutamadım kendimi, sarıldım ona
     Cmaj7       D            G
Bırakmam ölene kadar, ölene kadar

    Em       Bm               Cmaj7  Bm
Küçücük, buseler yeter mutluluğa giderken
    Em   Bm          Cmaj7   Bm
Geceler uzun, sen yokken yanımda

        Em                        Bm
Sevgimi anlatamıyorum anlatamam gücüm yetmez
            Cmaj7          Bm
Ömrüm dayanmaz, asla anlatamam
       Em              
Senden ayrılamam bunu kaldıramam
    Bm
Bu acıya daha fazla dayanamam çiçeğim
    Cmaj7                   Bm
Çiçeğim, sen solarsan yaşayamam

End of song Play again?

Onur Can Özcan - Küçücük Buseler Tabs

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Harmony analysis

Onur Can Özcan – Küçücük Buseler: 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.

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)

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 10 times against 1 for G. 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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	1×
ii	Am	Supertonic — prepares the dominant	A · C · E	—
iii	Bm	Mediant — a tonic-family shade	B · D · F#	15×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IVmaj7	Cmaj7	Subdominant — moves away from home	C · E · G · B	11×
V	D	Dominant — strongest pull home	D · F# · A	1×
vi	Em	Relative minor — the melancholy side	E · G · B	10×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	10×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	1×
iv	Am	Subdominant — moves away from home	A · C · E	—
v	Bm	Minor dominant — soft pull	B · D · F#	15×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VImaj7	Cmaj7	Submediant — warm colour	C · E · G · B	11×
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 38 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 ×5
Cmaj7 Em GIVmaj7 → vi EmVImaj7 → iVI → i ×2
D G GV → Iauthentic cadence EmVII → III ×1
Cmaj7 D GIVmaj7 → VIV → V EmVImaj7 → VIIVI → VII ×1

The move to watch is Bm → Em, heard 5 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 Cmaj7, land on C, E, G — 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.

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 Bm, Cmaj7, Em, D; read them as iii–IVmaj7–vi–V in G or v–VImaj7–i–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. 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.