Hande Ünsal - Daha İyi - Chord

Key Bb major – G minor Chords Gm, Dm, Cm, Eb, F Easy key C

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Capo 0

Gm  Cm  Dm

  Gm
Yalan değil, iyi değilim, delirir gibi
Dm
Fotoğraflara sarılıp ağladığım doğru
Cm                                 Dm
Yalan değil, çalan kapıya, telefona
                    Gm
Sen sanıp koşa koşa gittiğim doğru 

Eb
Yalan değil
Dm
Yalan değil
Cm
Yalan değil

Gm                Eb
Dön diye ölüyorum ama
F             Dm
Dönmesen daha iyi
     Eb             F
Hala çok seviyorum çok seviyorum ama
Cm            Gm
Sevmesem daha iyi

Gm  Eb  F  Dm

Gm            F
 Sana bir şans daha vermek 
Dm        Eb
 Sonuma imza olur 
Cm             F
 Elini bi daha tutmaktansa
Cm           Dm
 Ölürüm daha iyi
 
Gm                Eb
Dön diye ölüyorum ama
F             Dm
Dönmesen daha iyi
     Eb             F
Hala çok seviyorum çok seviyorum ama
Cm            Gm
Sevmesem daha iyi

End of song Play again?

Hande Ünsal - Daha İyi Tabs

NotesX

Harmony analysis

Hande Ünsal – Daha İyi: key and chord analysis

The song opens on Gm and ends on Gm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

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)

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 both starts and finishes on Gm and Gm is heard 9 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.

Seen from Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	—
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	7×
iii	Dm	Mediant — a tonic-family shade	D · F · A	9×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	7×
V	F	Dominant — strongest pull home	F · A · C	7×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	9×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	9×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	—
iv	Cm	Subdominant — moves away from home	C · Eb · G	7×
v	Dm	Minor dominant — soft pull	D · F · A	9×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	7×
VII	F	Subtonic — steps back to the tonic	F · A · C	7×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 39 times in total; 5 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

Eb F BbIV → VIV → V GmVI → VIIVI → VII ×5
Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×4
Cm Gm Bbii → vi Gmiv → iminor plagal ×3
Cm F Bbii → Vii → V Gmiv → VII ×1

The move to watch is Eb → F, heard 5 times. From the Gm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Bb side it reads IV → V (IV → V: the lift that builds tension before home). 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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Cm, 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

The opening Gm lays a solid floor for everything that follows. Gm, Dm, Cm, Eb carry the song: vi–iii–ii–IV relative to Bb, i–v–iv–VI relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → F (IV → V in Bb, VI → VII in Gm): VI → VII — the rising step that heads for the tonic. It closes on Gm, letting the Gm 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.