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)
Güntaç Özdemir - Öyle Demek İstemedim - Chord
Key G major – E minor Chords Am, G, D, C, B, Em Easy key C (capo 7)
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Key: G | Em
Capo: 0
G G Am D
G Am
Öyle demek istemedim
D G
Hemen arkanı dönme
Am D
Senede bir olur bana gelirler
G
Birden bire
Am
Olduğun gibi kal
D G
Ara sıra beni alttan al
Am D
Kabullenmen gereken huylarım var
Am D G
Öyle demek istemedim
C Am
Kırdıysam özür dilerim
B Em
Hatayla beslenirim ben
Am
Acıyla süslenirim
D G
Susamam ki boşuna
C Am
Hep hoşuna gitmeyebilirim
B Em
Maalesef ben böyleyim
G Am
Beni yine istemedin
D G
Tatlı krizlerinde
Am D
Ayda bir olur ele geçiriliyorsun
G
Birden bire
Am
Bir bakmışım ne rahat
D G
Bir bakmışım Nebahat
Am D
Tutabilsem çenemi, kalmaz kabahat
Am D G
Öyle demek istemedim
C Am
Kırdıysam özür dilerim
B Em
Hatayla beslenirim ben
Am
Acıyla süslenirim
D G
Susamam ki boşuna
C Am
Hep hoşuna gitmeyebilirim
B Em
Maalesef ben böyleyim
End of song Play again?
Güntaç Özdemir - Öyle Demek İstemedim Tabs
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Harmony analysis
Güntaç Özdemir – Öyle Demek İstemedim: key and chord analysis
The song opens on G and ends on Em. 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: we can't honestly pick a side here — the song moves freely between G major and E minor because it comes to rest on Em, it opens on G, G is heard 14 times against 4 for Em and the major V chord points straight at Em. Try reading the chords both ways and see which feels more like home to you.
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 | 14× |
| ii | Am | Supertonic — prepares the dominant | A · C · E | 17× |
| iii | Bm | Mediant — a tonic-family shade | B · D · F# | — |
| V/vi | B | Secondary dominant V/vi — leads to Emsecondary dominant | B · D# · F# | 4× |
| IV | C | Subdominant — moves away from home | C · E · G | 4× |
| V | D | Dominant — strongest pull home | D · F# · A | 13× |
| vi | Em | Relative minor — the melancholy side | 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 | 4× |
| ii° | F#dim | Supertonic — prepares the dominant | F# · A · C | — |
| III | G | Relative major — the bright side | G · B · D | 14× |
| iv | Am | Subdominant — moves away from home | A · C · E | 17× |
| 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# | 4× |
| VI | C | Submediant — warm colour | C · E · G | 4× |
| 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). 6 different chords appear 56 times in total; 5 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.
Chord movement
- Am D Gii → Vii → V Emiv → VII ×13
- D G GV → Iauthentic cadence EmVII → III ×11
- B Em GV/vi → vi EmV → iharmonic-minor cadence ×4
- Am B Gii → V/vi Emiv → Viv → V ×4
The move to watch is Am → D, heard 13 times. From the G side it reads ii → V (ii → V: the classic preparation of the dominant); from the Em side it is iv → VII. 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, D — 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.
- 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
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The opening G lays a solid floor for everything that follows. Am, G, D, C carry the song: ii–I–V–IV relative to G, iv–III–VII–VI relative to 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 Am → D (ii → V in G, iv → VII in Em): ii → V — the classic preparation of the dominant. The final chord is Em; the ear comes to rest in Em.
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.
Güntaç Özdemir - Öyle Demek İstemedim 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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