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)
Aysel Yakupoğlu - Ne Bilsin Eller - Chord
Key Bb major – G minor Chords F, Dm, Cm7, Bbmaj7, Eb, Gm Easy key C
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Key: Bb | Gm
Capo: 0
Dm Bbmaj7 F Eb Sabahın seheri esiyor yeller Dm Bbmaj7 F Sabahın seheri esiyor yeller Gm Cm7 F Dm Cm7 Benim sana yandığımı ne bilsin elllller Ne bilsin eller, ne bilsin eller F Cm7 Dm Bilmesin eller Dm Bbmaj7 F F Eb Dm Bbmaj7 F F Gm Cm7 F Dm Cm7 Cm7 F Cm7 Dm Dm Bbmaj7 F Eb Sevdana düşeli geçmiyor günler Dm Bbmaj7 F Sevdana düşeli geçmiyor günler Gm Cm7 F Dm Cm7 Benim sana yandığımı ne bilsin elllller Ne bilsin eller, ne bilsin eller F Cm7 Dm Bilmesin eller Dm Bbmaj7 F F Eb Dm Bbmaj7 F F Gm Cm7 F Dm Cm7 Cm7 F Cm7 Dm Dm Bbmaj7 F Eb Duydum ki hep beni konuşur diller Dm Bbmaj7 F Duydum ki hep beni konuşur diller Gm Cm7 F Dm Cm7 Benim sana yandığımı ne bilsin elllller Ne bilsin eller, ne bilsin eller F Cm7 Dm Bilmesin eller
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Aysel Yakupoğlu - Ne Bilsin Eller Tabs
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Harmony analysis
Aysel Yakupoğlu – Ne Bilsin Eller: key and chord analysis
The song opens on Dm and ends on Dm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
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 Bb major side because Bb is heard 10 times against 5 for Gm. That is an interpretation, not a rule — hearing the same chords from G minor is just as valid and teaches you something different.
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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| Imaj7 | Bbmaj7 | Tonic — home | Bb · D · F · A | 10× |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 17× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 20× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 5× |
| V | F | Dominant — strongest pull home | F · A · C | 24× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 5× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 5× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| IIImaj7 | Bbmaj7 | Relative major — the bright side | Bb · D · F · A | 10× |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 17× |
| v | Dm | Minor dominant — soft pull | D · F · A | 20× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 5× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 24× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 81 times in total; 6 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
- Cm7 F Bbii7 → Vii → V Gmiv7 → VII ×10
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×5
The move to watch is Cm7 → F, heard 10 times. From the Bb side it reads ii7 → V (ii → V: the classic preparation of the dominant); from the Gm side it is iv7 → VII. 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 F, land on F, A, C — 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 Cm7, 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
Starting on Dm, the song gives away its key from the very first bar. F, Dm, Cm7, Bbmaj7 carry the song: V–iii–ii7–Imaj7 relative to Bb, VII–v–iv7–IIImaj7 relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm7 → F (ii7 → V in Bb, iv7 → VII in Gm): ii → V — the classic preparation of the dominant. It closes on Dm, letting the Bb 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.
Aysel Yakupoğlu - Ne Bilsin Eller 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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Lyrics: Ankaralı CoşkunMusic: Ankaralı Coşkun
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