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)
Onur Atmaca - Avut Kendini - Chord
Key Bb major – G minor Chords Ebmaj7, F, Dm7, Dm, Cm, Gm, Bb Easy key C
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Key: Bb | Gm
Capo: 0
Bb Dm7 Ebmaj7 Cm Dm
Gm Gm F Dm7 Ebmaj7 Cm Cm Dm
Dm7
Gecem yok gündüzüm yok
Ebmaj7
Aklımda son sözün var
F
Bir kuru canım kaldı
Ebmaj7
Ondada mı gözün var
F Ebmaj7 Dm
ooooooooooooo
Gm
Avut kendini şimdi
F Dm7
Sana aldıklarımla
Ebmaj7 Cm
Nasıl değiştin beni
Dm
Yolda bulduklarınla
Dm7
Ahım yok bedduam yok
Ebmaj7
Çekmişim kaderimi
F
En sonun da anladım
Ebmaj7
Sendeki değerimi
F Ebmaj7 Dm
ooooooooooooo
Gm
Avut kendini şimdi
F Dm7
Sana aldıklarımla
Ebmaj7 Cm
Nasıl değiştin beni
Dm
Yolda bulduklarınla
End of song Play again?
Onur Atmaca - Avut Kendini Tabs
NotesX
Harmony analysis
Onur Atmaca – Avut Kendini: key and chord analysis
The song opens on Bb 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: we can't honestly pick a side here — the song moves freely between Bb major and G minor because it opens on Bb and Gm is heard 4 times against 1 for Bb. 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 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 |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | 1× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 5× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 6× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 6× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 10× |
| V | F | Dominant — strongest pull home | F · A · C | 7× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 4× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 4× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 1× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 5× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 6× |
| v | Dm | Minor dominant — soft pull | D · F · A | 6× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 10× |
| 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). 7 different chords appear 39 times in total; 7 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
- Ebmaj7 F BbIVmaj7 → VIV → V GmVImaj7 → VIIVI → VII ×4
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×3
The move to watch is Ebmaj7 → F, heard 4 times. From the Bb side it reads IVmaj7 → V (IV → V: the lift that builds tension before home); from the Gm side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic). 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 Ebmaj7, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over Dm7, land on D, F, A — 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 Bb lays a solid floor for everything that follows. The backbone is Ebmaj7, F, Dm7, Dm — IVmaj7–V–iii7–iii from the Bb side, VImaj7–VII–v7–v from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ebmaj7 → F (IVmaj7 → V in Bb, VImaj7 → VII in Gm): IV → V — the lift that builds tension before home. 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.
Onur Atmaca - Avut Kendini 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: Fatih SöylemezMusic: Onur AtmacaArrangement: Utku Küçük
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