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)
Öykü Gürman - Olmaz Olmaz Bu İş Olamaz - Chord
Key G major – E minor Chords Bm, D, Em, E, B Easy key F (capo 2)
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Key: G | Em
Capo: 0
Bm Em
Her güzele koşma demedim mi, her tatlı söze kanma demedim mi
D
Aldatır seni inanma demedim mi
Bm D Bm
Olmaz olmaz bu iş olamaz, olmaz olmaz bu iş olamaz
Bm Em
Bu kadar çapkın olma demedim mi, göğsünü böyle açma demedim mi
D
Gözler manalı süzme demedim mi
Bm D Bm D Bm
Çalım satma bu iş olamaz, hiç yalvarma bu iş olamaz
E B
Eloğlu bakmaz gözün yaşına, ne işler açar sonunda başına
E Bm
Kimseler koşmaz imdadına, pişman olur dönersin bana
Bm Em
Bu kadar çapkın olma demedim mi, her güzele koşma demedim mi
D
Gözler manalı süzme demedim mi
Bm D Bm
Çalım satma bu iş olamaz, hiç yalvarma bu iş olamaz
E B
Eloğlu bakmaz gözün yaşına, ne işler açar sonunda başına
E Bm
Kimseler koşmaz imdadına, pişman olur dönersin bana
Bm Em
Bu kadar çapkın olma demedim mi, her güzele koşma demedim mi
D
Aldatır seni inanma demedim mi
Bm D Bm
Çalım satma bu iş olamaz, hiç yalvarma bu iş olamaz
D Bm D Bm
Olmaz olmaz bu iş olamaz, olmaz olmaz bu iş olamaz
Bm Em
Her güzele koşma demedim mi, her tatlı söze kanma demedim mi
D
Aldatır seni inanma demedim mi
Bm D Bm
Olmaz olmaz bu iş olamaz, olmaz olmaz bu iş olamaz
End of song Play again?
Öykü Gürman - Olmaz Olmaz Bu İş Olamaz Tabs
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Harmony analysis
Öykü Gürman – Olmaz Olmaz Bu İş Olamaz: key and chord analysis
The song opens on Bm and ends on Bm. Its chords belong to both G major and Em, so every chord below is read both ways.
Minor view
E minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = C (the minor's melancholy)
- b7 = D (natural-minor colour)
- #7 = D# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the E minor side because Em is heard 5 times while G never appears and the major V chord points straight at Em. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | G | Tonic — home | G · B · D | — |
| ii | Am | Supertonic — prepares the dominant | A · C · E | — |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | 20× |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | 2× |
| IV | C | Subdominant — moves away from home | C · E · G | — |
| V | D | Dominant — strongest pull home | D · F# · A | 13× |
| vi | Em | Relative minor — the melancholy side | E · G · B | 5× |
| VI | E | Chromatic colour chordoutside the key | E · G# · B | 4× |
| vii° | F#dim | Leading-tone chord — tension | F# · A · C | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Em | Tonic — home | E · G · B | 5× |
| I | E | Chromatic colour chordoutside the key | E · G# · B | 4× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | — |
| iv | Am | Subdominant — moves away from home | A · C · E | — |
| v | Bm | Minor dominant — soft pull | B · D · F# | 20× |
| V | B | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | B · D# · F# | 2× |
| VI | C | Submediant — warm colour | C · E · G | — |
| VII | D | Subtonic — steps back to the tonic | D · F# · A | 13× |
Analysis
The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 44 times in total; 3 of them sit naturally inside the shared scale. The major V of Em brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from G, the same B is V/vi, a secondary dominant heading for Em. E step outside the scale as colour chords.
Chord movement
- Bm Em Giii → vi Emv → inatural-minor cadence ×5
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 D, land on D, F#, A — 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.
- When B comes, swap the scale's D for D#: that single note is the harmonic-minor sound of the chord.
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
- 2 semitones down · capo 2 keeps the original pitch
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
Starting on Bm, the song gives away its key from the very first bar. The chords that keep coming back are Bm, D, Em, E; read them as iii–V–vi–VI in G or v–VII–i–I in Em. B is the interesting twist: in G it is a chromatic chord (V/vi), while in Em it becomes the dominant (V) that makes the minor side sound so determined. 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.
Öykü Gürman - Olmaz Olmaz Bu İş Olamaz 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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