Tuğkan - Git (2020) - Chord

Key Bb major – G minor Chords Dm7, Cm7, Gm, Ebmaj7, Dm Easy key C

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Capo 0

Dm7               Cm7
 Hiç bitmez sanmıştım
Dm                 Cm7
 Kusursuzsun diye inanmıştım
Dm7                      Cm7
 Artık ne sana ne de bir başkasına
          Dm7
 İnanamıyorum

Dm7                    Ebmaj7
 Aşk bir savaş değildi savaştık
Dm7                 Cm7
 Düşünmeden ihanete bulaştık
Dm7                    Ebmaj7
 Aşk bir savaş değildi savaştık
Dm7             Cm7
 İstemeden ihanete bulaştık

Gm                            Dm7
 Nasıl geldik yıprana yıprana bugüne
                Cm7                    Dm7
Yapamıyorum ben böyle, daha da uzamadan git
       Gm                    Dm7
Ne istiyorsan, al götür yanında bırakma
                   Cm7                    Dm7
Bana lazım olan ne varsa, canımı yakmadan git

Gm                            Dm7
 Nasıl geldik yıprana yıprana bugüne
                Cm7                    Dm7
Yapamıyorum ben böyle, daha da uzamadan git
       Gm                    Dm7
Ne istiyorsan, al götür yanında bırakma
                   Cm7                    Dm7
Bana lazım olan ne varsa, canımı yakmadan git

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Tuğkan - Git (2020) Tabs

NotesX

Harmony analysis

Tuğkan – Git (2020): key and chord analysis

The song opens on Dm7 and ends on Dm7. 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 Gm is heard 4 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	—
ii7	Cm7	Supertonic — prepares the dominant	C · Eb · G · Bb	9×
iii7	Dm7	Mediant — a tonic-family shade	D · F · A · C	15×
iii	Dm	Mediant — a tonic-family shade	D · F · A	1×
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	2×
V	F	Dominant — strongest pull home	F · A · C	—
vi	Gm	Relative minor — the melancholy side	G · Bb · D	4×
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	4×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	—
iv7	Cm7	Subdominant — moves away from home	C · Eb · G · Bb	9×
v7	Dm7	Minor dominant — soft pull	D · F · A · C	15×
v	Dm	Minor dominant — soft pull	D · F · A	1×
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	2×
VII	F	Subtonic — steps back to the tonic	F · A · C	—

Analysis

The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 31 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

Dm7 Gm Bbiii7 → vi Gmv7 → inatural-minor cadence ×3
Cm7 Gm Bbii7 → vi Gmiv7 → iminor plagal ×1

The move to watch is Dm7 → Gm, heard 3 times. From the Gm side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii7 → vi. 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 Dm7, 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.
Over Gm, land on G, Bb, D — 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 Dm7 lays a solid floor for everything that follows. The backbone is Dm7, Cm7, Gm, Ebmaj7 — iii7–ii7–vi–IVmaj7 from the Bb side, v7–iv7–i–VImaj7 from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm7 → Gm (iii7 → vi in Bb, v7 → i in Gm): natural-minor cadence — gentle, modal arrival. Ending on Dm7, the song seals Bb as home.

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.