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)
Zuhal Olcay - Eyvallah (Hüsnü Arkan) - Chord
Key Bb major – G minor Chords D7, Gm, Eb, Ebmaj7, Cm7, F Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Gm D7 Ebmaj7 D7
Gm D7
Bir kucak çiçek bırakacak üstümüze dünya
Ebmaj7 D7
Artık rüyalar gör şarkı sayıkla
Eb Gm
İyi gelir yasemin kokusu hayal kırıklığına
Ebmaj7 D7 Gm
Sensiz bu kadar oluyor eyvallah
Ebmaj7 D7 Gm
Sensiz bu kadar eyvallah
Cm7 F
Yaseminler üstüne yemin ederim aşk biziz
Eb D7 Gm
Koysalar cennete yanarız yine, budur hikayemiz
Cm7 F
Yaseminler üstüne yemin ederim düş biziz
Eb D7
Sevmeye geldik bu cehenneme
Gm
Budur hikayemiz
Gm D7
Eskiden bir adam vardı burda, sır vermezdi
Ebmaj7 D7
Artık anlatmak zamanı, yaş kemale erdi
Eb Gm
Dışarda yasemin beyazı, hafif bir rüzgar
Ebmaj7 D7 Gm
Sensiz bu kadar oluyor eyvallah
Ebmaj7 D7 Gm
Sensiz bu kadar eyvallah
Gm D7
Geceyim uykuyum rüyayım, sensiz bu kadar
Eb D7
Acıyım yangınım külüm sensiz bu kadar
Eb Gm
Üzgünüm yakınım uzağım, sensiz bu kadar
Eb D7 Gm
Eyvallah mutsuzluğa da
Cm7 F
Yaseminler üstüne yemin ederim aşk biziz
Eb D7 Gm
Koysalar cennete yanarız yine, budur hikayemiz
Cm7 F
Yaseminler üstüne yemin ederim düş biziz
Eb D7
Sevmeye geldik bu cehenneme
Gm
Budur hikayemiz
End of song Play again?
Zuhal Olcay - Eyvallah (Hüsnü Arkan) Tabs
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Harmony analysis
Zuhal Olcay – Eyvallah (Hüsnü Arkan): 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.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
- #7 = F# (harmonic-minor leading tone from the V chord)
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, Gm is heard 16 times while Bb never appears and the major V chord points straight at Gm. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | — |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 4× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V7/vi | D7 | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A · C | 17× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 9× |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 7× |
| V | F | Dominant — strongest pull home | F · A · C | 4× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 16× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 16× |
| 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 | 4× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V7 | D7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A · C | 17× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 9× |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 7× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 4× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 57 times in total; 5 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D7 is V7/vi, a secondary dominant heading for Gm.
Chord movement
- D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×10
- Cm7 F Bbii7 → Vii → V Gmiv7 → VII ×4
- Eb Gm BbIV → vi GmVI → iVI → i ×3
The move to watch is D7 → Gm, heard 10 times. From the Gm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Bb side it reads V7/vi → vi (secondary resolution: D7 resolves a fourth up to Gm). 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 D7, land on D, F#, A — 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.
- Over Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- When D7 comes, swap the scale's F for F#: 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 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
- 3 semitones down · capo 3 keeps the original pitch
- 2 semitones up
The song's harmonic story
The first chord is Gm; the ear learns where home is within a second. D7, Gm, Eb, Ebmaj7 carry the song: V7/vi–vi–IV–IVmaj7 relative to Bb, V7–i–VI–VImaj7 relative to Gm. D7 is the interesting twist: in Bb it is a chromatic chord (V7/vi), while in Gm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on D7 → Gm (V7/vi → vi in Bb, V7 → i in Gm): harmonic-minor cadence — the major V resolves dramatically. The final chord is Gm; the ear comes to rest in Gm.
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.
Zuhal Olcay - Eyvallah (Hüsnü Arkan) 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: Hüsnü ArkanMusic: Hüsnü ArkanArrangement: Efe Demiryoğuran
Cihangir Aslan
Cihangir Aslan
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