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)
Can Ozan - Yaz Şarkısı - Chord
Key Bb major – G minor Chords Bb, Cm, Dm, Eb, Ebm, F Easy key C
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Key: Bb | Gm
Capo: 0
Bb Bb Cm Cm Bb Cm Al eline şarabı, oturup kumsala Bb Cm Gün doğuyo yeni bi haberi var sana Bb Cm İlkbaharı bi seni düşünüp geçirdim ya Bb Cm Şimdi ne gam, ne hüzün, ne de kırgınlığım var Dm F aaaaaaaaaaa Dm Dm Eb Ebm Artık yalanlarla, senden kalanlarla uyanmak istemem her gün Dm Dm Eb Ebm Bb Aklımda ne varsa yazdım ve yazdıkça, seni buldum bu yaz şarkısında Bb Bb Cm Cm Bb Cm Hayat geliyo geçiyo bitecek nasıl olsa Bb Cm Fena mı olur elimizde bi kaç anı kalsa Bb Cm İlkbaharı bi seni düşünüp geçirdim ya Bb Cm Şimdi ne gam, ne hüzün, ne de kırgınlığım var Dm F aaaaaaaaaaa Dm Dm Eb Ebm Artık yalanlarla, senden kalanlarla uyanmak istemem her gün Dm Dm Eb Ebm Bb Aklımda ne varsa yazdım ve yazdıkça, seni buldum bu yaz şarkısında
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Can Ozan - Yaz Şarkısı Tabs
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Harmony analysis
Can Ozan – Yaz Şarkısı: key and chord analysis
The song opens on Bb and ends on Bb. 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 Bb major side because it both starts and finishes on Bb and Bb is heard 14 times while Gm never appears. That is an interpretation, not a rule — hearing the same chords from G minor is just as valid and teaches you something different.
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 | 14× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 12× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 10× |
| III | D | Chromatic colour chordoutside the key | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 4× |
| iv | Ebm | Minor iv — borrowed from the parallel minorborrowed chord | Eb · Gb · Bb | 4× |
| V | F | Dominant — strongest pull home | F · A · C | 2× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | — |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | — |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 14× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 12× |
| v | Dm | Minor dominant — soft pull | D · F · A | 10× |
| 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× |
| vi | Ebm | Chromatic colour chordoutside the key | Eb · Gb · Bb | 4× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 2× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 46 times in total; 5 of them sit naturally inside the shared scale. Ebm is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Ebm Bb Bbiv → Iminor plagal Gmvi → III ×2
The move to watch is Ebm → Bb, heard 2 times. From the Bb side it reads iv → I (minor plagal: a bittersweet arrival with a borrowed iv); from the Gm side it is vi → III. 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 Bb, land on Bb, D, F — 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- On Ebm, follow the chord's notes (Eb · Gb · Bb) rather than the key's scale — it's a borrowed colour.
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 Bb lays a solid floor for everything that follows. Bb, Cm, Dm, Eb carry the song: I–ii–iii–IV relative to Bb, III–iv–v–VI relative to Gm. Ebm briefly darkens the picture: minor iv — borrowed from the parallel minor. Keep an ear on Ebm → Bb (iv → I in Bb, vi → III in Gm): minor plagal — a bittersweet arrival with a borrowed iv. The final chord is Bb; 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.
Can Ozan - Yaz Şarkısı 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: Can OzanMusic: Can Ozan
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