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)
Ömer Öz - Özledim Bil İstedim - Chord
Key Bb major – G minor Chords Dm7, Ebmaj7, Cm7, Gm, F, Gm7 Easy key C
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Key: Bb | Gm
Capo: 0
Gm F
Özledim bunu bil istedim
Ebmaj7 Dm7
Ama mühür dilime sözlerim
Cm7 Dm7
Şu yenildiğim nefretim bu gece
Ebmaj7 Dm7
Kurdu sanki bir tuzak
Gm F
Bir yabancı girmiş hayatına
Ebmaj7
Söyle mutlu oldun mu sonunda
Dm7
Sorma, sanki her şey de yolunda
Cm7 Dm7
Aşk yarası sarılır mı yalanla
Ebmaj7
Ya da belki alışır mı zamanla
Dm7
Görmeden bilemem
Cm7 Dm7
Yılların kaybı sen
Ebmaj7 Dm7
Dert olur gizlesem
Gm F
Özledim bunu bil istedim
Ebmaj7 Dm7
Ama mühür dilime sözlerim
Cm7 Dm7
Şu yenildiğim nefretim bu gece
Ebmaj7 Dm7
Kurdu sanki bir tuzak
Gm F
Unutmam seni sevdiğimi
Ebmaj7 Dm7
Sesini, saç telini, nefesini
Cm7 Dm7
Uykumu kaçıran hislerimi öylece
Ebmaj7 Dm7
Söylemek bana yasak
Gm Ebmaj7
Kimse sevmesin, adını bilmesin
F Gm7
Yüzünü görmesin dayanamam
Cm7 Dm7
Akıp giden yaşını silmesin
Ebmaj7 Dm7 Ebmaj7
Yoksa ben yaşayamam
End of song Play again?
Ömer Öz - Özledim Bil İstedim Tabs
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Harmony analysis
Ömer Öz – Özledim Bil İstedim: key and chord analysis
The song opens on Gm and ends on Ebmaj7. 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 opens on Gm and Gm is heard 6 times while Bb never appears. 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 | — |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 6× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 16× |
| 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 | 12× |
| V | F | Dominant — strongest pull home | F · A · C | 5× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 5× |
| vi7 | Gm7 | Relative minor — the melancholy side | G · Bb · D · F | 1× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 5× |
| i7 | Gm7 | Tonic — home | G · Bb · D · F | 1× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 6× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 16× |
| 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 | 12× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 5× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 45 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
- Dm7 Gm Bbiii7 → vi Gmv7 → inatural-minor cadence ×4
- F Gm7 BbV → vi7deceptive cadence GmVII → i7Aeolian arrival ×1
- Ebmaj7 F BbIVmaj7 → VIV → V GmVImaj7 → VIIVI → VII ×1
The move to watch is Dm7 → Gm, heard 4 times. From the Gm side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii7 → 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 Dm7, land on D, F, A — 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.
- Over Cm7, land on C, Eb, G — 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
Starting on Gm, the song gives away its key from the very first bar. The backbone is Dm7, Ebmaj7, Cm7, Gm — iii7–IVmaj7–ii7–vi from the Bb side, v7–VImaj7–iv7–i from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm7 → Gm (iii7 → vi in Bb, v7 → i in Gm): natural-minor cadence — gentle, modal arrival. Ending on Ebmaj7, the song seals Bb 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.
Ömer Öz - Özledim Bil İstedim 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: Ömer ÖzMusic: Ömer Öz
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