Zerrin Özer - O Yaz - Chord

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

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Capo 0

G         Bm       Am         G            Bm           Am      G
Ne güzel geçmişti bütün bir yaz, başımda kavak yelleri esen o yaş
C      Bm       Am           G           Bm         Am       G       
Bense hanımeli kadar beyaz, çalmıştınız kalbimi bilmeden biraz

G   Bm   D   G

G         Bm       Am         G            Bm           Am      G
Nasıl da koşuşurduk bahçelerde, şarkı söylerdik mehtaplı gecelerde    
C        Bm        Am             G        Bm            Am       G           
Sen bana ben sana komşu evlerde, kök sarmaşıklar gibi sarıldık o yaz


D                  C  G    D                  C     G
Elime değerdi safça elin, seninse arardı beni gözlerin
C          Bm      E        Am    G       Bm         Am         G       
Öpüşürken korkusu bir şeylerin, sevgimize ilk hüznü getirdi biraz


G        Bm       Am      G              Bm       Am     G
Çocuk kalbimize dolan gamla, oturup ağlamıştık sessiz çardakta
C          Bm       Am       G    Bm            Am        G     
Çaresiz erken inen akşamla, veda edip ayrıldık biterken o yaz

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Zerrin Özer - O Yaz Tabs

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Harmony analysis

Zerrin Özer – O Yaz: key and chord analysis

The song opens on G and ends on G. 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 G major side because it both starts and finishes on G and G is heard 21 times while Em never appears. That is an interpretation, not a rule — hearing the same chords from E minor is just as valid and teaches you something different.

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	21×
ii	Am	Supertonic — prepares the dominant	A · C · E	14×
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#	—
IV	C	Subdominant — moves away from home	C · E · G	6×
V	D	Dominant — strongest pull home	D · F# · A	3×
vi	Em	Relative minor — the melancholy side	E · G · B	—
V/ii	E	Secondary dominant V/ii — leads to Amsecondary dominant	E · G# · B	1×
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	—
V/iv	E	Secondary dominant V/iv — leads to Amsecondary dominant	E · G# · B	1×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	21×
iv	Am	Subdominant — moves away from home	A · C · E	14×
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#	—
VI	C	Submediant — warm colour	C · E · G	6×
VII	D	Subtonic — steps back to the tonic	D · F# · A	3×

Analysis

The key pair is G major and its relative E minor (1 sharp). 6 different chords appear 60 times in total; 5 of them sit naturally inside the shared scale. E acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

C G GIV → Iplagal cadence EmVI → III ×2
D G GV → Iauthentic cadence EmVII → III ×1

The move to watch is C → G, heard 2 times. From the G side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Em side it is VI → III. 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 G, land on G, B, D — the chord's own tones always sound right on strong beats.
Over Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
Over Am, land on A, C, E — 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

Starting on G, the song gives away its key from the very first bar. The backbone is G, Bm, Am, C — I–iii–ii–IV from the G side, III–v–iv–VI from the Em side. E adds a moment of surprise: secondary dominant V/ii — leads to Am. Keep an ear on C → G (IV → I in G, VI → III in Em): plagal cadence — the soft 'amen' ending. Ending on G, the song seals G 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.