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)
Bedük - Bi Dans Etsek - Chord
Key Bb major – G minor Chords Dm7, Ebmaj7, Cm7, Gm7, F Easy key C
No ratings yet
or your user informations
Make it yours
Text size
Key: Bb | Gm
Capo: 0
Ebmaj7 Ebmaj7 Dm7 Dm7
Ebmaj7
Sende değil sorun bende dedi
Dm7
Olmaz unut bizi
Ebmaj7
Bi dur desem, bi dans etsek
Dm7
İnan olsun döner geriye
Cm7 Dm7
Aman
Gm7
Gitme kal kollarımda
Cm7 Dm7
Aman
Gm7
Bi dans etsek her şey tamam
Cm7 Dm7 Ebmaj7 Dm7 Cm7 Dm7 Gm7 F
Ebmaj7 Dm7
Gece çöker, güneş üstümüze doğmaz
Uyan hadi
Ebmaj7
Gitti gelmez mi bilinmez
Dm7
Ama bi dans etsek belki döner geri
Cm7 Dm7
Aman
Gm7
Gitme kal kollarımda
Cm7 Dm7
Aman
Gm7
Bi dans etsek her şey tamam
Cm7 Dm7 Ebmaj7 Dm7 Cm7 Dm7 Gm7 F
Bi dans etsek
Döner geri
Dönsün geri
Bi dans etsek
Söyleyin ona
Dönsün geri
End of song Play again?
Bedük - Bi Dans Etsek Tabs
NotesX
Harmony analysis
Bedük – Bi Dans Etsek: key and chord analysis
The song opens on Ebmaj7 and ends on F. 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 G minor side because Gm is heard 6 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | — |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 8× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 16× |
| 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 | 8× |
| V | F | Dominant — strongest pull home | F · A · C | 2× |
| vi7 | Gm7 | Relative minor — the melancholy side | G · Bb · D · F | 6× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Gm7 | Tonic — home | G · Bb · D · F | 6× |
| 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 | 8× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 16× |
| 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 | 8× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 2× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 40 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 Gm7 Bbiii7 → vi7 Gmv7 → i7natural-minor cadence ×6
The move to watch is Dm7 → Gm7, heard 6 times. From the Gm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii7 → vi7. 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 Ebmaj7, land on Eb, G, Bb — 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
The first chord is Ebmaj7; the ear learns where home is within a second. Dm7, Ebmaj7, Cm7, Gm7 carry the song: iii7–IVmaj7–ii7–vi7 relative to Bb, v7–VImaj7–iv7–i7 relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm7 → Gm7 (iii7 → vi7 in Bb, v7 → i7 in Gm): natural-minor cadence — gentle, modal arrival. It closes on F, 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.
Bedük - Bi Dans Etsek 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.
Find something to play next
Ready-made lists by difficulty and mood.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.