Mela Bedel - Nolduysa Oldu - Chord

Key G major – E minor Chords Am7, Em7 Difficulty already in its easiest key

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Capo 0

Am7  Em7

             Am7
Al istediğin oldu, dünyam senle doldu
                  Em7
Gönlüm aşka bir tutuldu

Derken birden bitti noldu

Bilebilsem ya

Am7
Seni bana yazamadı hiç bir defter

Beni sana çıkarıyor tüm dertler
Em7
Haset edip bile bile yas dökerler

Yine gelip seni bana yâd edenler

Am7
Oldu gözlerim doldu
            Em7
Acımadın bu halime

Diyemedin bu halin ne?

Am7
Noldu özledim de noldu
            Em7
Acımadın bu halime

Sebep olan da sensin be

Am7
Nolduysa oldu, ben de sevdim ya
Em7
Olduysa oldu, bilsin tüm dünya 


Am7
Oldu gözlerim doldu
            Em7
Acımadın bu halime

Diyemedin bu halin ne?

Am7
Noldu özledim de noldu
            Em7
Acımadın bu halime

Sebep olan da sensin be

Aman
Am7
Nolduysa oldu, ben de sevdim ya
Em7
Olduysa oldu, bilsin tüm dünya

Am7  Em7  Am7
            Ne olduysa oldu ya
Em7			
Oldu ya

Aşıksam noldu ya

End of song Play again?

Mela Bedel - Nolduysa Oldu Tabs

NotesX

Harmony analysis

Mela Bedel – Nolduysa Oldu: key and chord analysis

The song opens on Am7 and ends on Em7. 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 comes to rest on Em and Em is heard 11 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.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	—
ii7	Am7	Supertonic — prepares the dominant	A · C · E · G	11×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	—
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	—
V	D	Dominant — strongest pull home	D · F# · A	—
vi7	Em7	Relative minor — the melancholy side	E · G · B · D	11×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i7	Em7	Tonic — home	E · G · B · D	11×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	—
iv7	Am7	Subdominant — moves away from home	A · C · E · G	11×
v	Bm	Minor dominant — soft pull	B · D · F#	—
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	—
VII	D	Subtonic — steps back to the tonic	D · F# · A	—

Analysis

The key pair is G major and its relative E minor (1 sharp). 2 different chords appear 22 times in total; 2 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

Am7 Em7 Gii7 → vi7 Emiv7 → i7minor plagal ×11

The move to watch is Am7 → Em7, heard 11 times. From the Em side it is iv7 → i7 (minor plagal: deep and melancholic); from the G side it reads ii7 → vi7. 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 Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Em7, 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

The song is already written in its easiest key for guitar.

The song's harmonic story

Starting on Am7, the song gives away its key from the very first bar. The chords that keep coming back are Am7, Em7; read them as ii7–vi7 in G or iv7–i7 in Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am7 → Em7 (ii7 → vi7 in G, iv7 → i7 in Em): minor plagal — deep and melancholic. Ending on Em7, 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.